a revitalization report on the design of a cultural
TRANSCRIPT
A Revitalization Report on the Design of a Cultural District in Lincoln, NE
Prepared by Chibuikem Kelechi
University of Nebraska-Lincoln
May, 2020
Introduction 1Lincoln Cultural District 1Neighborhood Character 1Overview of Art and Music Scenes in Lincoln 4
Problem Statement 6
Relevance of the problem to the 2040 Plan 6Lincoln and Lancaster County: One Community 6Economic Opportunity 6Downtown Lincoln — the Heart of our Community 7
Academic Review 9What is a cultural District 9The Need for a Cultural District in Lincoln 9Global Imprints of Music and Entertainment on Community Growth 9Creativity and Culture can contribute to community planning 10Significance of creative placemaking 10Notes from the Responsible hospitality Institute 11Ensuring Public Safety 11
Case Study 12Baltimore 12Seattle 16
Recommendations 21
CONTENTS
Section 1
Section 2
Section 3
Figure 1: Drone image of Lincoln showing statue on State Capitol Building. 1
Figure 2: Asset mapping of the project area 2
Figure 3 : Proposed Cultural Map of the Project Area 2
Figure 4; Jazz in June event 5
Figure 5: Torn notebook Statue in UNL Campus 5
Figure 6: Bourbon Theatre 5
Figure 7: Map of Downtown Lincoln 7
Figure 8: UNL Police staff during a football game. 11
Figure 9: Map of Baltimore, Maryland 12
Figure 10: Male/Female (Jonathan Borofsky) Sculpture 13
Figure 11: Map showing the Station North Arts and Entertainment District 14
Figure 12: Street View of Capitol Hill District 16
Figure 13: Map of Seattle, WA 17
Figure 14: Map showing the Capitol Hills Art District 18
Appendix A: Legislative Bill 943
Appendix B: Ordinance No. 99982
Appendix C: Resolution 31555
CONTENTS
List of Figures
List of Appendix
Acknowledgments
D.. Zhenghong Tang Member , faculty advisory committee
Dr. Daniel Piatkowski Member, Faculty advisory committee
Andrew Thierolf, AICP City Planner
This project is completed in partial fulfillment in the Capstone Studio, Master of Community and Regional Planning (MCRP) degree program,
University of Nebraska–Lincoln.
Dr. Yunwoo Nam Member , Faculty advisory committee
Dr. Rodrigo Cantarero Chair , faculty advisory committee
Professor Gordon Scholz, AICP Program Director and Head of faculty advisory Committee
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Project overview1
1SECTION ONE
PROJECTOVERVIEW
1
Project overview 1
IntroductionLiNcoLN cULtUrAL DiStrict
This research in cultural districts is a
topic of interest to the Lancaster County Planning
Department staff and is related to the update of
the Lincoln / Lancaster County Comprehensive Plan
(LPlan 2040). The city has outlined certain proposals
on Music district, as proposed in the Lincoln d=-
Downtown mater plan of 2018. This research
brings out a clearer definition of cultural districts. It
primarily emphasizes on the appropriate processes
to be adopted by the City (Figure 1) towards creating
a naturally occurring Arts and Cultural district that
is sustainable over a long period of time. The case
studies includes the cities of Seattle and Baltimore.
Lincoln is a remarkable art city (Figure 2). The
Lied Center for the Performing Arts offers the best
of touring music, dance, theatre, symphony, comedy
and world-renowned artists of every discipline. The
Lied is also home to Lincoln Symphony Orchestra
and Lincoln Midwest Ballet productions. Bill Stephan,
Lied Center executive director, first mentioned the
idea of creating a cultural district, when city staff
presented the downtown master plan ideas to
Lied Center staff, said Paul Barnes, a city planner
(Hicks, 2018). In Hicks‘ article, Barnes mentioned
that a cultural district will likely be a marketing tool,
drawing visitors to all the art and music amenities
in downtown Lincoln and the nearby University of
Nebraska-Lincoln (UNL) campus.
Currently, in the mid-west, establishing
cultural districts has become a trend, and most cities
are adapting quickly. In 2010, Colorado became
one of the first states in the mid-west to create its
cultural district, Kansas, and other cities followed
suit. In 2018, Governor of Minneapolis released a
budget to the City council to create 6 cultural districts
across the state. The City intends to spend money
on improving the streets, renovate buildings and
help local entrepreneurs thrive in areas where the
majority of the residents are creatives.
In the first quarter of 2020, the
Omaha news-herald made a statement
of how Nebraska was one of two states in
the mid-west without a Cultural district. In
February of 2020, Senator Morgan Hunt
signed a bill, LB943 (Appendix A) giving
city council members the legal grounds to
design Cultural district plans for the state of
Nebraska.
1Figure 1: Drone image of Lincoln showing statue on State Capitol Building.
2
Project overview1
3d Imagery and asset map of the project area
1867 Bar
Lincoln Children’s Museum
Bourbon Theatre
Metro Gallery Nebraska
NHM*
Morill hall
Workspace Theatre
Architecture H
all
Johnny Carson School
Great Plains Art Museum
The LIED Center Mary Riepma Ross Media Arts Center
Marcus Grand Cinema
Noyes Art Gallery
Haymarket Theatre
Pleasant View Art Gallery
Gallery 9 Professional Artist
Kiechel Fine Art
O StO St
O StP StP StP StP StP StP StP StP St
Q StQ St Q StQ St Q StQ St Q StQ St
R StR St
O StO StO StO StO StO StO StO St
Woods Art Building
Rococo Theatre
Westbrook Music
Zoo Bar
Bodegas Alley
Du�y’s tavern
Figure 2: Asset mapping of the project area
ciNeMAS AND MeDiA ceNterS Art GALLerieS BArS & MUSic veNUeS
+
3
Project overview 1
3d Imagery and asset map of the project area
1867 Bar
Lincoln Children’s Museum
Bourbon Theatre
Metro Gallery Nebraska
NHM*
Morill hall
Workspace Theatre
Architecture H
all
Johnny Carson School
Great Plains Art Museum
The LIED Center Mary Riepma Ross Media Arts Center
Marcus Grand Cinema
Noyes Art Gallery
Haymarket Theatre
Pleasant View Art Gallery
Gallery 9 Professional Artist
Kiechel Fine Art
O StO St
O StP StP StP StP StP StP StP StP St
Q StQ St Q StQ St Q StQ St Q StQ St
R StR St
O StO StO StO StO StO StO StO St
Woods Art Building
Rococo Theatre
Westbrook Music
Zoo Bar
Bodegas Alley
Du�y’s tavern
Figure 2: Asset mapping of the project area
BArS & MUSic veNUeS MUSeUMS AND icoNic BUiDiNGS tHeAtreS AND MUSic veNUeS
4
Project overview1
Figure 3 : Proposed Cultural Map of the Project Area
overview oF Art AND MUSic SceNeS iN LiNcoLN
The Lied Center for the Performing Arts
offers the best of touring music, dance, theatre,
symphony, comedy and world-renowned artists of
every discipline. The Lied is also home to Lincoln
Symphony Orchestra and Lincoln Midwest Ballet
productions. (Lori 2016)
The Johnny Carson School of Theatre and
Film at the University of Nebraska-Lincoln (UNL)
provides a versatile performance and teaching space.
Lori describes the Sheldon Museum of art as one of
the best-kept secrets of Lincoln. The museum strikes
as a cathedral filled with reflective paintings and
sculptures designed by the world‘s best artists.
UNL’s campus also has numerous outdoor
sculptures .The torn notebook statue is a good
example (Figure 5).
The Bourbon Theatre (Figure 6) in Lincoln has
been on O Street since 2009 and has hosted many
national and local acts. (Morgan 2015).
Opening in 1936, Duffy‘s Tavern in Lincoln
is known for hosting local bands as well as several
bands that hit it big after playing Duffy‘s.
The most prestigious indoor event in Lincoln,
Nebraska is the Zoo Bar. First brought into light in
1921, the Zoo Bar is a place where music, history and
love mix up to make magic.
The Music district neighborhood has in
recent years emerged as an arts and entertainment
5
Project overview 1
district (Cultural District) full of galleries, shops, and
restaurants (Figure 2). The Cultural Centers Coalition
of Lincoln consists of four agencies: Indian Center
(Native American), Asian Center, Malone Center
(African American), and El Centro de las Américas;
each working to make the community safer, healthier
and culturally richer (Lori 2016)
Free outdoor and indoor music flourishes
in summer. Jazz in June (Figure 4) on the lawn
at Sheldon Museum on Tuesday nights draws
thousands each Tuesday evening in June and enjoys
a national reputation among traveling music lovers
(Fedderson 2016). The map in figure 3 displays the
existing cultural zones.
Figure 4; Jazz in June event
Figure 6: Buorbon TheatreFigure 5: Torn notebook Statue in UNL Campus
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Project overview1
Problem Statement The Lincoln City Council on June 2013
approved the city‘s first entertainment district-a
kind of giant sidewalk cafe--across the street from
the Pinnacle Bank Arena. The entertainment district
approved by the council lies between Q and R Streets
in the West Hay-market, and it will be split in half by
the new Canopy Street (Hicks, 2013). In September
of 2013, the Zoo bar owner, Scott Hatdfield wasn‘t in
good terms with the fact that the first entertainment
district appeared in the Hay-market, when it should
have been designated to the Lincoln downtown area.
He went ahead to file a claim of legally owning the
Lincoln Entertainment District title. The problem
here appears to be that there should be a designated
entertainment, art and music district which will
collectively serve as a cultural district for the City of
Lincoln.
AiMS AND oBjectiveS
This report aims to generate forward thinking ideas
and recreate successful strategies that will aid in
establishing a cultural district in downtown Lincoln.
The city of Lincoln already has
an existing Music district as laid
in the Lincoln Downtown Master
Plan and Entertainment district
in downtown and Hay-market
respectively. However, these places
are not legally designated as districts under the State
of Nebraska. How can these districts collectively
serve as a Cultural District? This project also gives
insights on how cultural districts can be created using
preexisting ideas from some of the most culturally
vibrant Cities in the United States.
Relevance of the problem to the 2040 Plan LiNcoLN AND LANcASter coUNtY: oNe coMMUNitY
The presence of a cultural district ensures
that there is a form of connection within Lincoln and
Lancaster County. A cultural district can serve as a
unifying tool for the county, essentially ensuring that
there is One Community. Introducing the policies
of a cultural district alongside the provision of city
Infrastructures only within the City Limits shall
continue to be an optimistic influence and help
shape the City for years to come. Sustaining these
policies preserve the City‘s ability to move forward
as one community. (Lincoln Downtown Master Plan
2018).
Lincoln and Lancaster County contains a
rich mosaic of households, living in a variety of
urban and rural settings. However, the residents
share a common bond and work cooperatively to
promote future growth that offers new opportunities
for living and working while conserving the local
environmental and cultural resources for future
generations.
ecoNoMic oPPortUNitY
The introduction of a cultural district would
ensure that existing businesses flourish while
creating opportunities for new businesses within
Lincoln. The viability of this district would ensure that
there are convenient hobs and a healthy tax base to
support public safety and other services within the
community.
Through the innovation of a Cultural district,
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1Project overview
art-themed businesses can expand progressively.
The implementation of a cultural vibrancy
can spike up City‘s revenue through tourism, art
exchange events and competitions.
DowNtowN LiNcoLN — tHe HeArt oF oUr coMMUNitY
Downtown Lincoln (Figure 7) is the heart of
the Lincoln community, a unique common ground
for all Lincoln and Lancaster County residents. It is
also emerging as an attractive place to live, becoming
an increasingly vibrant mixed use neighborhood.
At the same time, Downtown Lincoln belongs
to all residents of Nebraska because “downtown”
is synonymous with the University of Nebraska,
state government, and the State Capitol building.
This state-wide ownership has strong economic
implications. Integrating a Cultural district into
downtown‘s space will ensure that it remains a
special place. The presence of a Cultural District
shall boost Downtown Lincoln as a central location
for commerce , entertainment and arts. Ensuring
that there is a designated Cultural district in the
Heart of Lincoln, the sustainability and reputation of
Downtown will increase massively.
Figure 7: Map of Downtown Lincoln
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Project overview1
2SECTION TWO
FINDINGS
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2Academic ReviewwHAt iS A cULtUrAL DiStrict
A Cultural District can be described as a
well-recognized labeled area of a city in which a high
concentration of cultural facilities and programs
serve as the main anchor of attraction. They help
strengthen local economies, create an enhanced
sense of place, and deepen local cultural capacity.
These districts are unique to the local character,
community of the place.
GLoBAL iMPriNtS oF MUSic AND eNtertAiNMeNt oN coMMUNitY GrowtH
Arts, Music and Culture are underutilized
assets in community planning and development.
The latest album by wistful indie rock group Death
Cab for Cutie, Thank You for Today, is largely about
nostalgia and memory. It includes a track explicitly
about gentrification in Seattle, in which singer Ben
Gibbard laments watching buildings being torn down
to make way for parking garages (Christine 2019).
Communities, and urban problems have become
popular topics in the previous several years that
have been absorbed into popular music culture.
It’s of huge significance to note how pop culture,
particularly in the form of music, musicians, and
directors are impacting the sustainable growth of
cities. Also, at a international scale, most musicians
are bringing community problems to light through
their voice and popularity. The latest Grammy
nominated album by Burna Boy titled African
Giant sheds light on how governance and public
participation is handled in most parts of Africa,
particularly Nigeria. The track titled Collateral
Damage, emphasizes on how social inequality
saturates communities within Nigeria. In more words,
he describes how policies are written to favor a high
number of wealthy people, elites, while leaving low
class citizens to their fate. It is indeed a wholesome
truth that the art of music and musicians consistently
streamlines a community in the direction of growth
and opens up the umbrella of public participation.
tHe NeeD For A cULtUrAL DiStrict iN
LiNcoLN
In less than two generations, Lincoln was
converted from a wilderness inhabited by a small
number of native Americans to a large number of
residents of diverse, racial, ethnic and religious
backgrounds. This was a significant milestone of
the 19th Century, and many of Lincoln‘s Cultural
contributions revolved around this victory.
Nebraska authors such as Willa Cather and
Mary Sandoz , contribute significantly to the cultural
asset of Lincoln. The Cather Dining and Abel/Sandoz
dining halls in the University of Nebraska-Lincoln are
named after these notable writers. These authors
wrote about the lifestyle and interaction of settlers of
diverse social and ethnic backgrounds. This Cultural
value bolstered the quality of the town. People and
CULTURAL DISTRICTS
Cultural Production
Focus
Cultural Compounds
Focus
Anchored ByMajor Cultural
Institutons
Arts & Entertainment
Districts
Downtown AreaFocus
Types of Cultural Districts
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businesses with such creative-cultural capital deserve
protection because their skills can generate good
name as well as good wealth for the city. Designating
a cultural district magnifies the preservation power
of these cultural elements. It also generates a clear
and safe path for the youthful generation to follow.
creAtivitY AND cULtUre cAN coNtriBUte to coMMUNitY PLANNiNG
Creative placemaking is about revitalizing
a small town, or a neighborhood in a bigger city.
Creative placemaking is an increasingly prevalent
form of planning practice that invokes arts and
culture as tools for revitalization. Planners,
policymakers, funders, and practitioners are engaged
in a discursive struggle to define what is meant
by creative placemaking and what value it holds
for cities (Andrew 2018). Creative placemaking is
when artists, arts organizations, and community
development practitioners deliberately integrate
arts and culture into community revitalization
work—placing arts at the table with land-use,
transportation, economic development, education,
housing, infrastructure, and public safety strategies”
(Andrew 2018). Arts and Culture are continually
proving their power as economic and social catalysts
(Losos 2014).
SiGNiFicANce oF creAtive PLAceMAKiNG
Creative placemaking (making a cultural
district) generally strengthens a community‘s
resilience while also boosting the economic growth
of the community. The presence of art retail,
museums, music festivals add to the growing
economy by increasing the rate at which cash flows
into such communities; in this case, Lincoln. Tourism,
a product of creative place making has been known
to be a significant source of revenue.
Encourages civic engagement
Strengthens economic
development
Builds resiliency
Improves the Quality of Life
COMMUNITIES AND URBAN PROBLEMS HAVE BECOME
POPULAR TOPICS IN THE PREVIOUS SEVERAL YEARS THAT
HAVE BEEN ABSORBED INTO POPULAR MUSIC CULTURE.
Figure 8 ; UNL Police staff during a football game.
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NoteS FroM tHe reSPoNSiBLe HoSPitALitY iNStitUte (rHi)
On December 2016, RHI published an
article that focuses on the dynamics of Night life
by Jim Peters. The article suggests that the whole
nightlife industry of dining and entertainment and
its components employs thousands and it acts
primarily as a magnet that draws tourists, residents
and businesses to a community. The author also
emphasizes on how certain entrepreneurial ventures
(mostly diners) convey a taste of cultural and ethnic
diversity through low-cost food choices and offer
the community a refreshing experience through the
many outdoor spaces that encourage transitions
between evening and late night. This is the case of
Lincoln Downtown where there are safe outdoor
spaces for the residents. This spaces generally
encourages safe communal nightlife systems
and active nightlife systems are necessary for the
sustainability of a Cultural District.
In planning for Nightlife, one needs to have
the tools to maintain an appropriate level of people
present in these districts at any given time. To be
efficient at this, the author suggests two strategies.
eNSUriNG PUBLic SAFetY
To increase safety in nightlife communities,
strong collaborative partnerships with regulatory and
compliance agencies have to be established to help
contain civic disorder (Figure 8).
Regular meetings and data
sharing amongst businesses
and security agencies should be
enhanced.
Other than strategic policing, code
compliance officer deployment, and expanded use of
private security, License requirements that require
venues to deploy some of their own security staff
to assist in crowd control after closing relieves the
police officers and enable them monitor streets
better.
FiNDiNGS
Set Seating Limits by Block or
districts. 1.
Lease parking spaces ( e.g.
parklets) for venues to add
Outdoor seating2.
Figure 9: Map of Baltimore, Maryland
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Case Study
Throughout the 1800s and early 1900s,
the West Side was a thriving center for retail and
entertainment. The construction of the B & O
Railroad played a significant role in establishing
Baltimore as a center for commerce. By the late
1940s and early 1950s, evidence of the decline of the
West Side as a result of poor public housing policies
became apparent in department store patrons
and sales. The overall assessed value of the central
business district dropped from $175 million in 1931
to $128 million in 1947 (Clisham, et al. 2010).
In an effort to revitalize its economy and
promote growth, Baltimore (Figure 9) began
embarking on an aggressive economic development
strategy beginning in the 1950s. With over a 30%
decline in total population between 1950 and 2000,
significant changes in the socio-economic profile
of the city’s residents, and decline in its industrial
sector, economic development became necessary for
future sustainability. (Clisham, et al. 2010).
In 1977, the Greater Baltimore Committee,
an organization of business and civic leaders
designed to mobilize the commercial, industrial and
professional leadership of Baltimore to bring about
tangible and rapid improvements in the community,
drafted a plan that would retain existing department
stores (National Endowment for the Arts 2009).
Maryland became one of the first states in
the U.S. to create an Arts and Entertainment Districts
program in 2001. Baltimore is popular for her strong
music and theatre scenes. In 2008, Rolling Stone
magazine’s “Best of Rock” issue named Baltimore the
BALtiMore
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Station North Arts and
Entertainment District,
Baltimore, Maryland
nation’s “best scene” (Figure 10).
Located in the heart of Baltimore, Station
North was the first area in Baltimore to receive
the State designation as an Arts & Entertainment
District in 2001 (Figure 11) . The district includes the
Green-mount West, Charles North and a part of the
Barclay communities. The mission of the district is
to “create a vibrant neighborhood where arts, artists
and entertainment venues flourish in the midst an
economically diverse community with an abundance
of healthy residential, retail and commercial
offerings” (Clisham, et al. 2010).
The genesis of this creative energy can be
found in places like the Copy Cat Building, the Oliver
Street Building and the Cork Factory, which in the
1970s began providing artists’ housing and work
space. Maryland Institute College of Art (MICA) is
also a significant stakeholder. Over the last 10 years,
MICA’s expansion and its continual annual attraction
of over 400 burgeoning artists to the area has aided
in solidifying Baltimore generally and Station North
specifically as a community welcoming to a creative
class. In 2009, Station North reported having 500
artists and 21 arts-based enterprises registered in
the district. (City of Baltimore 2015).
The epicenter of the Baltimore Entertainment
scene is Station North, where studios, theater
companies, galleries, bars and clubs are coming
up from the underground into the light of North
Avenue, inviting comparisons to the arts scene that
has revitalized large parts of Brooklyn, NYC. Ranging
from 100-300 acres, the Station North District is a
mix of commercial, post-industrial, and residential
areas connected to the rest of Baltimore through
multiple modes of transportation. (City of Baltimore
2015). This is the case seen in Lincoln where there is
sufficient amount of Mix Land Use.
For many years, the district has been viewed
as the weakest link in a chain of neighborhoods
stretching north and south along Charles Street.
The district—particularly its Green-mount West
neighborhood—includes a number of former
industrial and commercial buildings that became
artists’ work and live spaces during the 1990s. One
of the earliest successes of Station North Arts and
Entertainment District, after designation in 2002,
was to encourage the city to change the zoning
for parts of the neighborhood to legitimate the
artists’ presence. (Stern and Seifert, 2013). The pace
of development in the district accelerated in the
mid- 2000s, when a group of important institutional
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Figure 10: Male/Female (Jonathan Borofsky) Sculpture
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entities—including the Maryland Institute College of
Art, the University of Baltimore, and Johns Hopkins
University joined forces as the Central Baltimore
Partnership to generate increased development
activity in the area. Although the recession has
slowed major redevelopment, the increase in cultural
resources in Station North has continued.
Revitalization efforts on Station
North Arts and Entertainment
District
ProceSS
A coalition of four local non-profit arts
organizations joined together to bolster artistic
programming in an area of Baltimore long
considered blighted. Working in what has been
designated by the State of Maryland as the Station
North Arts and Entertainment District (SNAED),
the group set out to improve the quality of life by
implementing public art installations and programs
in different indoor and outdoor sites and to help
the community capitalize on the creative artists,
organizations, and institutions that call the Station
North area home (NEA 2009).
tHe NeiGHBorHooD cHArActer
Long burdened by a sluggish local economy
and devastated by the 1968 riots, SNAED has had
its share of setbacks. Today it is an area made up
of several parallel but often disparate communities:
artists, legacy residents, and students. Many
residents are low income and there is a high degree
of variability in terms of their civic participation. This
diversity has led to varying, and at times competing,
visions for how the neighborhood should develop.
(National Endowment for the Arts 2009).
Figure 11: Map showing the Station North Arts and Entertainment District
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LocAL NeeDS
The City desired for revitalization and this
was supported by the public because the residents
and business owners within the District felt a strong
desire to refashion the area with a more uplifting
identity.
FUNDiNG SoUrceS
In the development process of the district,
funding was a huge challenge. However , the city was
able to generate funds by keying into some grants
and open source funds which are listed below:
• Grants from National Endowment for the arts.
• Grants from the Maryland state Arts Council
• City funding viSioN
One goal was to capture a large, long-
overlooked audience: commuters using the nearby
transit hubs who have time to spend in the district,
but who may otherwise not choose to leave the
station. “The goal is to get all the people who often
pass through Station North on their way to have a
reason to stop here after work on Friday, “said Ben
Stone, Executive Director of SNAE. The program
directors had a second goal of engaging the district’s
DIY and emerging artists and wanted to include them
in programming. A third goal was to reach out to
non-artists—but long-time residents of the area—
who might be attracted to the free programs and
diversity of events. (National Endowment for the Arts
2009).
coLLABorAtioNS
Station North Arts & Entertainment, Inc.
(SNAE) acted as the primary administrative and
programming partner, Central Baltimore Partnership
(CBP) led community outreach and liaising with long
term planning efforts, Maryland institute College of
Art (MICA) served as the fiscal agent, and D Center
Baltimore assisted in programming. (National
Endowment for the Arts 2009).
Notes from Station North’s Growth Process
Generate collaborative marketing materials and programming strategies
Bolster Policy framework while providing clarity on existing A&E tax incentives
Incorporate Mayoral Initiatives by engaging in annual meetings and presentations with
the Mayor
Expand City partnerships
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Case Study SeAttLe In 2008, the sudden purchase of Odd Fellow‘s
Hall made dozens of artists and art organizations
homeless. This loss coupled with the unavailability
of artist spaces within the neighborhood, stunted
Seattle‘s economic growth.
Seattle (Figure 12) in the 1900‘s was popularly
famous as a City for its highly fashionable automobile
profile. It is no surprise that eight years after the
creation of the first auto dealership in 1903, 41
automobile sellers were listed in the City‘s Polk
Directory (Calbdick,2015). In the next couple of
decades, Auto Row became the name of the street
where the city‘s new dealerships and repair shops
were located . Auto Row became a friendly place of
interest to people in and outside the City. In 1914,
Nellie Cornish (1876-1956) founded the Cornish
School of Music in a one-room studio in the Booth
Building at Broadway and Pine. In later years, several
furniture stores, beginning with Del Teet Furniture
(Calbdick 2015) started opening up for business. By
the end of the decade, the concentration of artists
and low rental prices of properties attracted art
organizations and theatre firms to the area. At this
time, the cultural vibrancy of the City began to glow.
In 1971, the Seattle Arts Commission was
created “to promote and encourage public programs to
further the development and public awareness of and
interest in the fine and performing arts“ -Ordinance No.
99982- (APPENDIX B).
tHe SeAttLe wAY
In 2008, when the Odd Fellows building which
provided affordable spaces for artists was sold, a
new action was put into motion to ensure that artists
spaces are preserved and conserved. Nicki Licata,
a Seattle City Councilman at that time, engaged in
meetings and named the planning process ‚ Seattle
Way. The Seattle Way became a term used in
describing planning process that entails a ground-up-
style neighborhood planning and development as
opposed to a city government top-down process.
Figure 12: Street View of Capitol Hill District
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Capitol Hill Arts District,
Seattle, Washington
AN overLAY DiStrict wAS creAteD
Moving forward, In April 2008, the City
Council organized a public forum at City Hall with a
theme titled“ Make Room For Art: Cultural Overlay
Districts for Seattle“. At this time, an overlay district
was created. An Overlay district can be described as
a regulatory tool that creates a special zoning regime
that is superimposed over an area‘s existing zoning
and can provide incentives or impose regulations in
addition to those already in place (Calbdick 2015).
A cultural overlay district specifically
encourages the retention of existing and the
development of new places for arts and culture
activities (Calbdick 2015).
PLAN iMPLeMeNtAtioN ProceSS
In January 2014, the City of Seattle (Figure 13)
opened the floor to public parties to participate in a
plan design competition where the winner receives
a $10,000 grant to prepare a detailed report on how
to proceed with plan implementation. This was the
first in-nation Cultural Development Certification
Program.
The Seattle Way was broadly inclusive
and very democratic
On the other hand, The Seattle way was
very slow
Figure 13: Map of Seattle, WA
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creAtioN oF tHe cAPitoL HiLL ArtS
DiStrict
In 2013 and 2014, Capitol Hill Housing, a
public corporation of the City of Seattle provided
an 88 apartment building complex for families,
individuals, meeting spaces and offices.
More and more developments sprung
up from the Overlay district plan. A significant
development came through on November 17 of 2014
when the city council endorsed a resolution made by
Council member Nick Licata. (APPENDIX C)
Capitol Hill was the first district to be named
as part of the Arts & Cultural Districts program, in
November 2014 (Figure 14).
tHe NeiGHBorHooD cHArActer
Capitol Hill‘s Pike / Pine neighborhood
is the densest art neighborhood in the State of
Washington. Over the course of the past 35 years, a
diverse group of arts and cultural organizations have
been re-occupying a formerly light industrial area
known as auto row. The district is now home to over
40 arts and cultural organizations.
At the same time, the neighborhood is
experiencing rapid change and gentrification. Existing
arts organizations are under real threat of being
displaced by rising rents and redevelopment.
„A RESOLUTION CREATING AN ARTS & CULTURAL
DISTRICTS PROGRAM AND IMPLEMENTATION PLAN FOR SEATTLE, AND DESIGNATING
CAPITOL HILL‘S PIKE/PINE/12TH AVENUE NEIGHBORHOOD AS THE
FIRST OFFICIALLY RECOGNIZED ARTS & CULTURAL DISTRICT“
(RESOLUTION 31555).
Figure 14: Mp showing the Capitol Hills Art District
19
FiNDiNGS 2
Notes from Plan Implementation Process
Design a cultural space advisory
committee
Generate an accountability measurement
system
Make use of measures of arts & culture
to serve as models to measure outcomes
Identify measurable outcomes to
determine program success
Establish a cultural certification program
20
recoMMeNDAtioNS2
Recommendations
3SECTION THREE
RECOMMENDATIONS
21
recoMMeNDAtioNS 3
Bolster the district policy frame work:
With the proper management and successful designation of a
district, tourism rates , tax revenue, social capital and urban quality of
life will grow at rapid rates. These are soft assets that can increase the
successful performance of the district. In approaching this, one must
note the existing cultural district incentives in the Downtown area and
if there are no existing incentive, one must re-imagine the existing
incentives for districts under an urban cultural style. Amendments and
new legislation might have to be incorporated to make room for the
district to brush up some areas that might need improvement. Annual
reports made to the Mayor‘s office would ensure a good rapport of
accountability over time.
Developing affordable housing for artists would be one good
policy to embark on. In February, 2015 Mayor de Blasio of New York
announced a plan to build 1,500 units of affordable housing for
artists.
Another idea would be for electricity rates to be subsidized
for non profit cultural performances venues. For example, the Jazz in
June Venues can have subsidized electricity rates. Offering a favorable
electricity rate for cultural organizations would build a history of
support while providing a critical subsidy for performance venues.
LEGISLATURE3 Increase city partnerships
District development allows for developers and potential
investors to be involved in the growth process. The district can out
source projects to public investors and partners whose vision aligns
with that of the district. Management organizations could be set
up for the purpose of requesting general operating support. This
request could be made annually depends on what works. The City of
Lincoln can initiate a task force that sources for partnerships. These
partnerships should be able to go beyond the district leadership and
management and involve the broader community. For example, the
city can partner with artists to create iconic structures that are typical
and unique to the city while raising funds from the public through
these programs.
PARTNERSHIPS
22
recoMMeNDAtioNS3
Explore all potential funding sources
According to the NEA, about 44% of all funding for cultural
districts comes from earned revenues from businesses within the
district; 40% comes from private institutions; and 16% comes from
the government (State and Federal). The sources of funding as well as
continuing financing of the district could be complex. Its complexity
is measured by how much mix is present in the adopted funding
schemes. It might entail a mix of private and public investments. For
example, the City of Lincoln may provide tax waivers or incentives;
economic development agencies can source funding from another
government agency; private investments can be made; Grants from
National Endowment for the Arts can be sought for. In Denver,CO,
residents support arts with 0.1% sales tax. Hotel and tourism taxes
could also be returned to the district.
Federal Sources should also be explored. Little Rock, Arizona
was able to secure $1.2million in funding from the Environmental
Protection Agency to design its Main Street Creative Corridor. Some
federal sources of funding includes; Federal Historic Rehabilitation
Tax Credits; Small Business Association Loans; USDA Rural
Development Grants, and Community Development Block Grants.
A plan for continued financing is also very relevant to ensure its
sustainability over time. Baltimore tackled this through annual private
investments, tax waivers and admission fees into theaters, festivals and
other related events within the district.
Small cultural organizations can hardly afford high- quality
technical, development and financial staff. These staff positions are
usually temporary and part time positions. The City could play the
role of a match maker creating grant programs that fosters joint
applications from multiple institutions to share back-staffing.
FUNDING
23
recoMMeNDAtioNS 3
Measure the cultural asset
In establishing a cultural district, some elements which
generally contribute to the fostering of cultural initiatives should be
intensified. Some of the associating factors to a successful cultural
district includes the abundance of cultural resources within a cohesive
place. This resources can range from facilities to programs, and from
historic and cultural resources to creative individuals. To ensure
the continued existence of a Cultural District in Lincoln, the cultural
resources and assets have to be recognized, mapped, identified using
available technologies and stored. Basically, a database representing
the cultural resource and assets in the City of Lincoln should be
designed.
One way to document the proportion of cultural assets in
the City of Lincoln is to adopt a comprehensive approach to the
development of an inventory, one that goes beyond just cultural
facilities , and is inclusive of the other various associating elements that
contributes to the cultural vibrancy of Lincoln.
ASSETMAPPING
COLLABORATION
Increase collaboration amongst existing art organizations
Collaborative programming is one tool that can speed up
the growth of the district. It could start by engaging in discussions
with business owners and representatives from the various art
organizations on how to create events and social gathering together
as one party. This strategy reinforces the idea of One Community
as stated in the LP 2040 plan. The cultural vibrancy becomes more
colorful when renowned art organizations collaborate to create an
event. The structure of the event could as well be diverse, a theatre
might as well engage in events with bars and art galleries. Anything is
possible with this concept if properly tackled.
In ensuring that real estate is affordable to the creative sector,
the City of Lincoln can build on successful models for providing
affordable work spaces for artist. In this vein, the city could act as
a liaison between religious institutions and artists. Many of these
institutions have vacant spaces and because some churches and
mosques usually disapprove the content of certain art groups, the
City can play a part in smoothening such partnerships.
24
recoMMeNDAtioNS3
Understand the barriers
Following the Case Study review, some key challenges to the
successful designation of a Cultural District surfaced. Lack of devout,
passionate leaders happened to be the most recurring problem.
Absence of a multi-sector leadership usually failed the implementation
process. A leadership where non-profit organizations can form
alliances with public and private businesses to manage the district
usually improves the process massively. Lincoln can set up a task
force with the sole aim of successfully completing the designation of a
cultural district. Coupled with the problem of leadership is the problem
of staffing. Most districts are not equipped with a good number of
dedicated staffs to carry out the project.
Lack of clearly documented objectives constitutes a problem
as well. At District level, there is usually a gap in documentation
processes. Objectives might not be laid out clearly. The planning
process can get ambiguous that displacement of goals and objectives
might happen occasionally. One approach in minimizing this problem
is to adopt a metric system, where each objective completed is
a milestone progressively moving towards the bigger goal. The
unavailability of related Data might also be a problem. In some
districts, there have been cases where people cited loss of existing
assets. Lincoln City can engage in integrating new technologies with
asset mapping so as to ensure a good level of authenticity in its
database.
SETBACKS
25
Lincoln , NE is a culturally vibrant City given the density of art, music and creative
outlets present in it‘s Downtown area. Following Senator Morgan Hunt‘s Bill,
Lincoln City seems culturally viable to become Nebraska‘s first Cultural District.
In the development process, the need for public participation is highly
recommended because the cultural district shall be unique and mirror the best of
Lincoln. The growth and development of the district can span over decades with stake
holders changing through out that time period. Hence, for reasons of good stability,
large local support is needed in the beginning stages.
This paper represents an attempt to enlist strategies that can enable the
City of Lincoln to designate its first Cultural district. On that note, further research is
necessary to investigate successful processes that can sustain the cultural district when
designated.
Moving Forward...
An authentic site analysis of the proposed district in the Downtown area is
essential as this puts the street scape, traffic issues, gateways, key buildings, historic or
architectural assets and landscaping improvements into perspective.
Once a district plan is established and completed, a competent management
who shall take pride in the responsibility and ownership of the district should be
secured. Task-forces that can engage in coordinating cultural programming and
business opportunities should be initiated.
All potential funding sources should be explored because funding is a
challenging, yet integral part of the project. In the continued existence and sustainability
of the district, further research needs be done to verify potential means of funding
that can sustain cultural development projects over long periods of time. Likewise,
marketing is an essential and remains a great tool for business growth. More studies
on engagement strategies needs to be carried out to ensure that members of the public
(residents and non-residents) enjoy the best interaction with the district.
Conclusion
26
reFereNceSr
References
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28
PHoto creDitSp
Photo CreditsPage 1Soldbyair Aerial Photography & Video (2018). Lee Oscar Lawrie‘s Sower sculpture on Nebraska State Capitol in the heart of Lincoln City.
Page 5Fedderson Troy (March 21, 2016). Jazz in June draws thousands each Tuesday evening in June and enjoys a national reputation among traveling music lovers.
Page 5Krefft Bryan (2007). Bourbon Theatre on 1415 O Street, Lincoln, NE 68508.
Page 11Fedderson Troy (June 28,2017). Nebraska ranked among nation’s safest universities.
Page 13Visit Baltimore. Male/Female (Jonathan Borofsky) Sculpture.
Page 16Rivas Mekita (September 24, 2018). Capitol Hill: The Best Hidden Treasures in This Classic DC Neighborhood
Page 19Jseattle (June 13, 2016). Capitol Hill gets new Arts District street signs
All Icons are made by Freepik from www.flaticon.com
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reFereNceSr2
APPENDICES
APPENDIX A: LEGISLATIVE BILL 943
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APPENDIX B: Ordinance No. 99982
APPENDIX C: Resolution 31555
