DEVELOPING ARTISTS' SPACE: A
checklist
Karen Guzak, October 1999
In any complex
building project, there are always interrelated and overlapping processes
running in parallel, such as creating the vision, finding a property,
establishing ownership, marketing, financial issues, permit issues,
construction issues, etc. I have found similar, general processes for
successful completion in each of the several building projects I've done. The
specific details of any project are different, and are based on the individual
problems of the site, the time, the money, the people you work with, and the
vision.
Therefore, much of
this summary checklist is in the form of the common questions, issues to check,
people to contact, problems to anticipate - and a few thoughts to inspire. It
is a beginning - meant to assist those idealistic novices who want to create
space for artists.
Why Art?
“You can feed and clothe a person, but to
what end? The arts are where we discover and express our humanity, privately or
collectively. They provide us the tools to share our common joy and grief, to
find communion with each other, to pass our stories and wisdom from one
generation to the next. If everything is taken from us but life itself, what
remains? Our voices, our bodies. With that alone, our humanity may be
preserved." Claire Peeps,
“Why Art?” Published in
Vol. 9, Number 2, Fall 1998 journal of the GRANTMAKERS IN THE ARTS.
Why Artists? From 1992 census data, Washington State has over 40,000 artists.
"When artists mold the ordinary into the
extraordinary, we experience surprise, awe, and mystery. When they step into new waters, they tease
us, challenge us, or provoke us to alter our perceptions. They draw from our
heritage, express and interpret our culture, create new traditions, and foster
our dreams. They bridge diverse communities, engender understanding and hope,
and leave a legacy which enriches our lives."
"The works of art
that enrich our lives begin with an individual artist, long before they reach
the museum stage or publisher." From
Artist Trust, Vision and Values statement
Who is an artist?
As determined by peer review process: Any person who is regularly
engaged in the visual, performing, or creative arts as demonstrated by a
body of work.
Why space for artists?
There is currently an artist space crunch in Seattle. This
city has more and more talented artists needing an ever-diminishing inventory
of affordable space for living and, more importantly for working. We are losing
the valuable cultural and quality of life resources artists bring to our city,
as artists leave for Tacoma, Bremerton, and Everett.
Who can be a developer?
Any creative person who has the will to figure out how to
develop space for artists. People with heart, tenacity, and lots of chutzpah
can do anything. Experience helps, but I believe the knowledge of "how to
do it" will follow the "doing of it" - and ask for help along
the way.
"If a man will begin with
certainties, he shall end in doubts, but if he will be content to begin with
doubts, he shall end in certainties" Francis Bacon
What is the vision?
Think
Big; it takes twice as much time to develop ten times as much space. Think
economy of scale.
What does that artist space vision look like?
Location -
Proximity to services & supplies
Proximity to other arts activities
Ease of access -(cannot be on a main throughway in
Seattle's industrial areas)
Zoning - check the code!
If the building is in an industrial zone, use must
be compatible with industrial use
Change of use requires application and neighbor
input
Be prepared to negotiate some zoning issues with
DCLU - eg. Open space, parking
Building
requirements:
Ceiling
height
Free
span and space between posts/walls
Light
- natural or artificial and fresh air
Floor
structure
Access
- elevator or loading dock
Parking
Common space?
Identify
any group priorities: Is the creation of community part of the vision?
Such
as: Laundry, garden, library, meeting room, copy machine, cable TV, foundry
wood shop, dark room, gallery
Size of units - Number of units.
For
living and/or working or only for working
Personal
space needs: ease of access, fresh air and light,
Clean space: Bath, cooking, eating,
sleeping, office
Dirty space: open,
flexible work studio, high ceilings, good light, storage
Live/work
space size: Minimum 1200 sq.ft. plus 200 sq. ft storage for one artist per
unit;
Minimum 1800 sq. ft plus 400 sq. ft. for two
artists per unit.
Who do you need on the professional team?
The first team member is a realtor to help
find this building or site.
Interview realtors to determine:
What is their experience with
commercial spaces?
What is their knowledge of
artists' needs?
Will they support the vision with
courage and expertise?
Comparable sales
What does the seller want?
What does the seller
need, and what compromises can be made?
Find
a seller who is motivated to sell with a cooperative broker who will structure
a deal that meets the needs of both buyer and seller. If the seller has
unrealistic expectations, let the project go, and try again later.
Structure an agreement with contingencies and enough time to
determine feasibility
"Contingent on
obtaining financing satisfactory to purchaser."
"Contingent on a
architectural/structural inspection satisfactory to purchaser."
"Contingency on an
environmental evaluation satisfactory to purchaser."
Write
promissory notes if at all possible, rather than checks, as earnest money.
Write earnest money agreements with contingencies. Make offers on several
possible buildings. It's gambling, and many offers will never materialize - for
a variety of reasons. You only need ONE to work out.
Who are the other key members of your professional
team?
Carefully select and interview
these importnt team members:
Architect. Essential for
negotiating various city code and zoning
requirements.
Also the architect is the key player in developing the overall concept for use
of space and circulation issues. Experience in artists' live/work space design
is helpful. Find an architect who is a good collaborator -one who has some
humor.
The
architect can also set up pre-construction conferences with Department
of Construction and Land Use (DCLU) to discuss and negotiate zoning and
building code issues.
Structural
engineer. Works with the
architect to evaluate condition of building and set out a course of structural
upgrades.
Lawyer.
Helps with purchase documents and
the legal forms of ownership
Contractor
or Construction estimator: Helps with
cost estimates for construction
Banker, or financial partners. Money from someone/somewhere is essential.
First team inspection of a building: What are you buying?
With your team, question how the building/site works
regarding:
Zoning Issues: See DCLU Client Assistant Memo 114
Building Code Issues which are
based on health and safety issues
See City of Seattle, Client
Assistance Memo 114
Fire safety issues - sprinklers,
type of construction
Circulation - 2 ways out of each
unit in case of fire code
Environmental issues - asbestos,
lead in paint, oil tanks, other toxics
Noise levels
Elevator and loading dock
Condition of structure
Roof
Foundation,
Dry rot, and other damage
Structural seismic considerations
Walls tied to floor & roof structure?
Type of construction: masonry or heavy timber
Windows and unit ventilation
Energy issues
Electrical service
Heat
Plumbing - sewer connections,
water pressure
Open space and Common space
Parking requirements
What does this preliminary feasibility study cost?
What are estimates for
professional fees? (include these as part of the cost)
How do you determine a scope of work for improvements?
How does the vision meet
what is really needed for the project success?
What comprises a "substantial alteration" of an
existing building?
What are high and low
cost estimates for building the vision?
How can you keep building alterations to a minimum
to avoid triggering greater
costs for a substantial alteration
eg. Seismic, energy code, fire safety, etc.
Meet with a DCLU representative before beginning an
artist's studio/dwelling project. Be clear about what you want, and have a
back-up plan for doing the minimum.
What will the total costs be for both "Soft Costs"
& "Hard Costs?"
How do you create a budget?
See attached 4 work
sheets titled "Project Cost
Checklist"
Determine Cost estimates for renovating shell and common
space.
Those
shell costs typically include:
Professional
Fees for the Core (Architectural, Legal, Structural, etc.)
Building permits
Site preparation, including parking lot and landscaping
Demolition
costs for the building core
Building
foundation
Exterior
walls, including painting or surface treatment, and insulation
Roof,
and floors, common structural elements (e.g. beams, posts, etc.)
Exterior
doors, entry areas, and doors to common spaces
Exterior
windows and common stairways as required by code
Interior
walls in common areas, including surface treatment, such as stairwells,
elevator, loading dock, laundry, etc.
Plumbing
stacks, roughed in plumbing to individual spaces and all plumbing for common areas
Electrical
service, roughed in to individual spaces with individual panels and all electrical work for common areas
Gas
service stubbed to individual floors or spaces with individual meters and
gas service as required for common areas
General
mechanical needs for the building common areas
Elevator
Basic
sprinkler system for entire building (not including variations to accommodate
individual tenant needs)
Telephone
and Cable service stubbed to individual spaces
Security
System and Fire alarm system
Roof
top deck and/or other common spaces
Construction
management, project management or general contractor fees or wages for the
core
One
percent for art or artist integrated work
Costs
of borrowing money for the project
Determine Cost estimates for renovating personal spaces
-
Tenant/shareholder improvements
Tenant
Improvements are generally defined as any improvements or additions to the
building that are paid for by individual tenants, and confined within
individual tenant spaces. For example: interior walls, plumbing fixtures,
cabinets, electrical and lighting fixtures, furnaces, hot water heaters, floor
and wall coverings, built in appliances, etc. Some tenant improvements may be
shared by two or more tenants, for example, common walls between spaces.
Where will the money come from?
Seller
financing; Buyer's funds
Combining
financial resources from investors and /or partners
Bank
financing
Public
- private partnerships
Government
money: low-income programs,
redevelopment money,
Are
investment tax credits for historic or substantial rehab?
Leases,
unit sales
What does a bank or financing partner need?
Appraisal and title
search
Loan to value ratio
Funds for closing
Uses of the property
Record of debt repayment
Project proforma:
Sources of the incoming and
proposed funds
Uses of the funds to repay
financing and for Soft Costs and Hard Costs
Cash flow projections amortized
over years to balance income with outgo
What legal services are needed?
Agreements between the partners in
the project.
Corporate
or partnership documents to create the legal entity that will develop
Corporate
or condo documents for those who will own the property
By-laws,
any leases or subleases, and house rules
Balance the legal needs of ownership
and the social needs of community living
Deal
with all potential problems
Outline
processes to deal with every conceivable "what if"
At
the Sunny Arms and Union Art Cooperatives: Those months of hard work,
discussing our agreements and our plans for how the building would look and
function were the time that our real community was created. It was a time when
all had a chance to speak of our dreams and express our fears. It was a time
when we came to know and eventually trust each other, and trust the process we
had created for solving problems.Those who needed too much control,couldn't be
team players, and couldn't trust the process, left the group.
As
it should be.
What is the legal
form of investment partnership?
What is the form of investment
contributions that work best for everyone?
What are the tradeoffs for
investors?
What is the legal
form of ownership of the units?
What are the tradeoffs of
Cooperative ownership?
What are the tradeoffs of
Condominium ownership?
What
are the tradeoffs of Limited Liability corporations or various partnership
forms of ownership?
What is the profit or
return for the developer and financing partners?
What
are each individual's financial contribution, risk, and time commitment?
What
does each individual need from this process?
Would
financing partners agree to a timed payout over years or months?
Would
partners agree to exchange work for future payouts?
Are
there intangible returns that are not tied to monetary return?
What about insurance?
What insurance is needed
for the construction phases?
What is needed for later occupancy?
Is the building insurance policy for
"core" and all occupants get "tenants" insurance"
Real estate taxes?
How much will taxes
increase after renovation?
How is the group and how are individuals going to pay
ongoing expenses?
What
is the prorata share in the ongoing financial obligations such as:
Loan
payments to the mortgage holder,
Taxes,
insurance, and maintenance, utilities.
What are the penalties for non-payment or late payment?
How do you hire a
contractor?
How
do you submit a "RFQ" Request for Qualification to contractors?
How
do you interview and sort through qualified contractors?
When
to submit specifications and plans for bid?
What
to do when bids are over budget?
Rank the "positive, enthusiastic,
can-do, creative quotient" very highly
What are the Pleasures and Perils of being your own
contractor?
What
about "sweat equity"?
What
are the tradeoffs of "self
performing" or "self contracting" part of the project?
When
to hire a manager to oversee and coordinate the project?
What are the time and money
tradeoffs?
What about liability issues?
How to present this information and create a prospectus to
assist in marketing the project?
Contents of
a full prospectus typically disclose:
Concept and vision of the project,
Include Name, Logo, and sketches
of the project
Initial architects plans and elevations including
unit layouts
Estimated or actual costs of units
Form of ownership, and ownership responsibilities
History of the building and the project
Location, with a map
Type of building construction and existing layout
Existing conditions, including environmental issues
Zoning and land use
Project developers and their past successful projects
Initial project expenses
Developer's fee
Financing structure, including alternate financing
Preliminary project cost estimates (if construction
is not completed)
General contractor or construction/project manager
Tenant improvements, and tenant build-out
responsibilities
Professional team members with experience and
expertise
Purchase documents
Non-refundable payments, installment payments, and
prepayment options
Initial estimated monthly payments
Maintenance fees with estimates for:
Insurance
Utilities
Taxes
Reserve
fund
Articles of Incorporation
By-Laws
Leases or subleases
House Rules
Risks, such as:
Delays
in initial sales
Delays
in permitting or financing commitments
Risks
of owner or developer non-payment
Proposed time line
How do you advertise the project and create a concise,
attractive description of the project?
What are the newspapers that
artists read?
What arts organizations
can provide information and a connection to artists?
What are the benefits of
direct mail to artists - working the network?
What should be included
in a brief flyer or brochure that will attract artists?
Good design sells a project. Incorporate harmonious
design principles, especially the art of Feng Shui.
Build
in treasures and small gifts for pleasure and good luck. Good building karma lasts a long time.
How do we work and live together in an artists' project?
Determine organizing principles:
Democracy
Equality
Accountability
Mindfulness
Problem solving
Leadership
The
"consensus" form of decision-making is death to progress. Vote for
democracy.
How do you determine
roles and responsibilities?
What are other models for roles and
responsibilities?
What should By-Laws contain?
What are voting procedures and majorities?
What are the roles and responsibilities of the group
officers or leaders?
President,
Vice President, Secretary, Treasurer
What is the term of service for officers? How are
they elected?
How does an owner buy, sell, sublease, or pass a
space through their estate?
How often will the group
meet, and what are the purpose of the meetings?
How do you balance
individual needs with group needs?
How do you structure House Rules, and what should be
included?
Occupant responsibility
for cleanliness and good order of public areas
Responsibility for
keeping access and egress clear and fire doors operational
Noise guidelines -
(especially important in old warehouse buildings)
Work Noise - set time limits (e.g. 8 am to 10 pm
weekdays)
Living Noise - normal living activities permitted 24 hrs.
per day
Musical instruments,
stereos, TV kept low volume 10pm to 8am
No bicycles in hallways
- only in bike storage areas
Conflict resolution procedures - mitigation
responsibilities of offender and offended
Garbage handling and disposal of art materials
Drainage traps in sinks for art materials
Handling of hazardous or flammable materials
Safety of all occupants
Children's play activities
Regulations about changes to exterior of building,
e.g. signs and window coverings
Reasonable access to common spaces
Smoking regulations
Tenant Improvements and approval mechanisms for
additions/changes
Pets: waste disposal, scoop issues, fleas, and noise
Master key and unit keys
Parking spaces and guest use
How much time does all this take?
Estimate these time tracks running more or less in
parallel:
Finding a building - 3 months to 5 years
Feasibility Study: -3 to 6 months
Plans and permitting - 3 months to 1 year
Construction - 3 months to 2 years depending on scope of
work
Marketing - 6 months to 2 years
Career growth as an artist having great space - a lifetime
Contribution to the artistic and economic vitality of the
city - decades
Any lessons to be learned?
Any answers (a least temporarily)
to the universal questions?
What are the internal blocks to moving forward?
What are the personal loss potentials and risks?
What are the rewards and the gain?
What can each of us do to make a contribution?
What is important in life?
"To
say yes, you have to sweat and roll up your sleeves and plunge both hands into
life up to the elbows. It’s easy to say no, even if it means dying ".Jean
Anouilh
Remember hard times make the best
stories. For triumph to mean anything, there must be adversity.
"It is
up to each of us to lead the way, the leading from within to unite the inner
life of spirit with the outer life of service. When we do, we will discover
what the great spiritual traditions have taught, which is, simply, as we
enhance our inner capacity for wholeness and freedom, we strengthen our outer
capacity to love and serve. This is our common work. This is the call to the
heart of philanthropy."
Rob Lehman in
"Mind, Money, and Grace" Vol. 10, Number 2 Grantmakers in the Arts,
Autumn, 1999