Naturally Occurring Cultural Districts and Their Public Vacant Lots in Bedford-Stuyvesant: a Case for Creative Adaptations

Home , 2 White Street, Bedford Avenue, Downtown Brooklyn, LentSpace, New York Law School, Nostrand Avenue

Naturally Occurring Cultural Districts and their Public Vacant Lots in Bedford-Stuyvesant: A Case for Creative Adaptations

Alexa Fábrega

“Hands Holding Soil” by Ruthie More [http://www.fifthonsixth.com/ruthieMore.html]

Capstone, Fall 2012

Master of Science Candidate Urban Environmental Systems Management School of Architecture, Pratt Institute

Table of Contents Page 1 Background 3

2 Purpose 6

3 Creative City 8

4 Precedence 12

5 Inventory 19

6 Sources 31

Maps Page

CB3 NOCD Clusters and Publically Owned Vacant Lots 20

CB3 NOCD Cluster 1 Sites 21

CB3 NOCD Cluster 2 Sites 23

CB3 NOCD Cluster 3 Sites 25

“The sustainable city is: a creative city, where open-mindedness and experimentation mobilize the full potential of its human resources and allows a fast response to change.”

~Richard Rogers, Cities For A Small Planet

2 1. Background

The pursuit of understanding a city and its interactive systems is a perpetual task; because of this, the planning and management of the urban environment are concerned with effecting the directions and processes of change. Within this wide-ranging field, this research considers the role of culture in community development through the framework of the Naturally Occurring Cultural Districts (NOCD) and how these areas can catalyze to adapt underutilized spaces and advance local sustainability goals through creative means. NOCD are organically formed and integrated into the community, where various cultural entities cluster in a certain geographical area to become creative hubs in the neighborhood, including arts organizations, design industries, small businesses, educational institutions, and community advocacy groups. These hubs function to stimulate a sense of place and strengthen social networks, as they are generated and shaped by its residents and participants. These areas establish an assemblage of cultural assets and spur creative programs that support local activities, shaping and serving community goals (Atlas. 2012). Multiple impacts are made by NOCD in communities, as evidenced in various research on the subject (Stern and Seifert. 2007). For example, the studies conducted by the Social Impact of the Arts Project correlates cultural assets to the local and regional economy through market value analysis, demonstrating how a thriving economy can facilitate cultural assets to converge in a locale. These analyses also measure how the presence of cultural assets impact increases in housing value and reductions of poverty in the community. As culture is rooted in pluralism of the community, it encompasses a broad range of perspectives. These studies reveal how culture can support community engagement in the public realm extending beyond cultural consumption that encourage diverse range of participation, from direct, peripheral, to informal ways. Accordingly, community based cultural development can foster stakeholder collaborations and capacity building through the process of cultural citizenship (Stern and Seifert. 2007). The context of this research is set in the Bedford-Stuyvesant (Bed-Stuy) neighborhood of Brooklyn, in New York City (NYC), defined by the boundaries of Community Board 3 (CD3). Bed-Stuy is a neighborhood with a rich history of African-American emancipation and civil rights movements. According to the Center for the Study of Brooklyn Community District 3 Brooklyn Neighborhood Report (Report), which referenced data on the racial makeup of the community from the American Community Survey of 2007 and 2009, the population remains predominantly Black (63%), followed by Latino (18%), White (14%), Asian (3%), and Other (2%). The neighborhood has experienced a steady population growth in recent years, 10% since 2000, now home to approximately 134,000 residents. Majority of people (93%) in the neighborhood have access to a park within ¼ mile distance of their home, while only a few (9%) people consider their neighborhood to offer

3 opportunities for excellent cultural activities. The majority of people are employed in the private sector, while 17% are employed by government, 10% by non-profits, and 5% are in the arts and culture fields. The median income of the neighborhood residents is $33,500, 33% of people whose earnings position them at or below the poverty line. Correspondingly, 20% of the youth in the community are characterized in the Report as disconnected youth, who are people not enrolled in school or employed (Center for Study of Brooklyn. 2012). Bed-Stuy is primarily residential, which includes a number of commercial corridors and industrial areas. With its growth, there are concerns of displacement posed by gentrification of the neighborhood. However, it is also a well-established community in terms of generations of activism and civic engagement, which continues to the present. The changes of the neighborhood fabric present opportunities for improvements in public services and amenities to serve the growing population. At the same time, there is acknowledgement of the need for the community to set priorities and incorporate ideas that will foster equity in the realms of its economic, social, and cultural development (Public Meeting. 2012). This is highlighted in the CD3 Districts Needs Statement for the Fiscal Year 2013 (Statement), which outlines the community priorities and funding requests for economic development, education, environmental protection, healthcare, housing, land use, open space, landmarks, transportation, public safety, social services, and sanitation. Generally, the goals set forth by CD3 are to improve the quality of life in the community, attract new businesses to stimulate the local economy that is beneficial for the community, and to meet the citywide PlaNYC 2030 goals in the district, meeting population growth demand by developing affordable housing, while reducing CO2 emissions and the associated pollution and health impacts (Butler and Phillips. 2012). In terms of art and culture in the district, the Statement emphasizes the need for financial assistance for cultural organizations and many of the neighborhood cultural programs, such as annual festivals, which are threatened by capital shortage. The CD3 continues to request support for developing an African-American Cultural Center in the community. It also acknowledges the potentials to use public space for cultural purposes, as signaled by the New York City Department of Cultural Affairs’ (DCA) Spaceworks initiative, launched in 2011 to support non-traditional spaces for cultural use through establishing artist studios and residencies for a range of durations. The Statement further highlights the importance of local artists to showcase their talents in the community, as well as to facilitate exposure to art and culture for the youth to maintain their connection to their heritage and inspire creative expression. Environmental improvement requests are also outlined in the Statement, particularly to address the district’s air quality issues that contribute to the asthma problems for its residents. To improve air quality and minimize vehicular CO2 emissions in the neighborhood, the district requests a sanitation garage to be sited within CD3, which currently transports all of its garbage to Community Board 1, pending since 1980 (Butler and Phillips. 2012). New ideas for sustainable

4 projects are welcomed by the community, such as the Bed-Stuy Gateway Streetscape Enhancement Project (NYEDC. 2012) along Fulton Street, by the New York City Economic Development Corporation (EDC) now under development. Such projects have much potential to contribute to rebuilding infrastructure, reutilizing land, and creating new jobs in the neighborhood. In response to the visions of the CD3 197-A Plan as well as to manage neighborhood growth, the New York City Department of City Planning (DCP) introduced rezoning of the district in 2007, comprised of 200 blocks in Bed-Stuy South, and again in 2012, recently approved by NYC City Council in October, which encompasses 140 blocks of Bed-Stuy North. The previous zoning parameters established in 1961 did not include height restrictions, which allowed for development of 12 to 14 story buildings in the neighborhood. With the rezoning, height restrictions are set to maintain the scale and character of the neighborhood fabric, which house many two to four story brownstone buildings. The rezoning in Bed-Stuy South began to address the need for more affordable housing in the district, with two major projects developed through the Inclusionary Housing Program on Fulton Street, an important effort to minimize displacement in the community. Additionally, the rezoning of Bed-Stuy North extends to enhance commercial areas that are located in proximity to transit hubs, such as along Myrtle Avenue and Broadway, with projections to spur employment opportunities in the neighborhood (Moriarity. 2012). In this milieu, there are ample opportunities in Bed-Stuy to cultivate cultural practices, which can be employed to harness community creativity towards activating underutilized spaces to become productive, vibrant spaces for collective purpose. The premise of this research considers culture as a fourth pillar of sustainability, along with environment, economy, and equity, as it asserts the role of NOCD of Bed-Stuy to facilitate and contribute to building community resilience, self-sufficiency, and livability, by inspiring stewardship through creative engagement and proposing programs for creative adaptations of common spaces. To support this case, the research poses to address the following questions: 1. What are the typology of places and practices that comprise the cultural ecosystem of Bed-Stuy? 2. Where are the NOCD clusters located in Bed-Stuy? 3. How can community cultural assets activate underutilized spaces? Where are the existing linkages and potential opportunities?

5 2. Purpose

This research is inspired by the work of the Naturally Occurring Cultural Districts - New York Working Group (NOCD-NY), and the purpose of which is to contribute to their ongoing efforts in advocating for the role of culture in urban community development. NOCD-NY was launched in August of 2011, formally established as a recipient of a two-year grant from the Rockefeller Cultural Innovation Fund (NOCD-NY. 2011). NOCD-NY was founded not as a new organization, but as a coalition comprised of representatives and allies from a network of existing and emerging organizations and individuals that support culture in community and strengthen local economies through cultural agency. NOCD-NY is intended to be a growing coalition that reflects the diversity of geography, ethnicity, and creative practices in all the five boroughs of NYC. As part of its mission, diversity is recognized as being fundamental to the cultivation of cultural assets, as they support under-represented, low-income communities of color to attain cultural equity through preservation of their own cultural practices that also encourage social inclusion and the access and allocation of economic and cultural resources in their own neighborhoods (Mangu-Ward. 2012). While the majority of support for cultural development in NYC tends to be concentrated in institutional cultural districts, such as in midtown Manhattan, NOCD-NY considers culture and art practices to be shaped by interdependencies that are concurrent with the social networks that build community in place (Mangu-Ward. 2012). In this view, NOCD are rooted in the history of place and empowered by community ownership, which can amplify stewardship and investments in local sustainability, through economic, social, cultural, and educational development for present and future generations. Considering culture not as a product but as process, NOCD-NY advocates for the development of a creative economy in communities that are open for all to pursue and participate in. Through providing peer mentoring, technical assistance and support for new cultural hubs, NOCD-NY aims to broaden its alliances to promote the role of culture in fulfilling decentralized planning and management of urban communities (NOCD-NY. 2010). One of the current research conducted by NOCD-NY is in response to the shortage of spaces for cultural practice in many parts of NYC (Bauman. 2012). According to their study findings, public buildings and facilities occupy 7% of usable land in NYC, many of which have under-used spaces within them. In accordance with the Public Buildings Cooperative Act, enacted as federal law in 1976, public facilities are open to use for public purpose, which allows for potentially innovative uses, such as art and cultural programs to take place in these spaces. In order to realize alternative uses of public space, municipal support is imperative. For such partnerships to succeed, the proposed uses should be mutually beneficial to the cultural and public entities. Expectedly, there are challenges to establishing cultural uses in public 6 facilities, including constraints posed by their hours of operation, required security and liability, as well as necessary infrastructure to accommodate the influx of the public and their cultural activities. NOCD-NY studies underline the need for better access to the information on available spaces and their capacity for potential cultural uses. There are many sources of public and private funding for the arts, such through the National Endowment for the Arts’ Creative Placemaking grants, as well as the DCA’s 1% for the Arts program, which primarily supports outdoor art installations in public space. There is a need for expanded funding for diverse range of art and cultural practices in NYC (Crane. 2012). Concurrently, beyond the use of public facilities for cultural use, there are a number of examples nationwide where buildings are being repurposed through adaptive-reuse from its original non-cultural use, to become cultural facilities. The scale of spaces and the range of creative endeavors introduced are diverse, whereas the process entailed to establish these spaces have a shared process, from location of the site to its acquisition, making improvements to serve the new program by renovating and reconfiguring the spaces, then supporting the operation and maintenance of spaces through its management (Hickey. 2012). As this research considers the interrelationship of NOCD and the publically owned vacant lots located in Bed-Stuy, it will expand the scope of NOCD-NY research on gathering information about potential spaces and outline various approaches for activating these spaces for cultural use. Moreover, this research will initiate the process of identifying potential partners and stakeholder in the community to become members in the coalition, which will further its mission to broaden its scope and network, to build partnerships, devise programs, and shape policies, so that culture can become an integral part of urban development in NYC.

7 3. Creative City

The notion of the commons considering the values and shared responsibility in safeguarding natural resources to serve the public good, extends to the role of culture in society. Culture is a shared resource, shaped by the context of place, forming the range of knowledge, customs, morals, and expressions of their inhabitants throughout history. Cultural expressions may be practical, aesthetic, symbolic, or spiritual, and they may be tangible in physical form as artifacts, or intangible and ephemeral, as a ceremony or a story. Evolution of culture is a lifecycle, from its emergence, expression, to decline, and the possibilities for renewal. The diversity of cultures worldwide is a testament to the multiplicity of ways to understand and engage with place, which also informs cultural behaviors and social interactions. Culture as a common resource is experienced individually, as well as expressed collectively in the sphere of public space. In this regard, as this research attests, creative practice and engagement in the realm of cultural commons can be directed by the collective for the benefit of public good, in the many spaces of the urban environment where culture, space, and community converge (Santagata and Bertacchini. 2012). Creativity is a vital dimension of human development, evident in cultural diversity, as well as in the process of city making. Stimulated by experimentation, flexibility, and linkages, from a generation of an idea to its implementation through innovation, harnessing creative thinking can maximize the potential of places. The theory of the Creative City coined by Charles Landry (Landry. 2000), demonstrates the ways in which creativity contributes to the economic success of cities, as it spurs cross-disciplinary collaborations that can address collective concerns, such as reducing CO2 emissions through means of resource management and transportation infrastructure, among others, to pose alternatives towards finding their solutions. In the post-industrial climate change reality of the state of the world, it is imperative for making economic and social adaptations towards sustainable transitions. Interaction and collaboration are significant aspects of creativity that fuels the interplay and exchange of ideas. In this regard, the spaces that facilitate these connections also become imperative to serve the public good, as they provide the forum for participation, at the same time contributing to the livability of place, fostering the sense of belonging and tolerance to build social capital of communities (Leadbeater. 2008). Creative Placemaking is an urban development strategy rooted in the principle of collaboration, which includes stakeholders from the community, government, non-profit and private sectors, to shape the physical and social spaces of cities. Makings of successful public space is derived from its activation, by the presence of people, its impression, sociability, and ways of use, as well as its comfort, access and linkage to the surroundings (Walker. 2012). There are diverse approaches to implement creative placemaking strategies, with variable

8 impacts that can affect community livability, public safety, and the local economy. Creative places are decentralized, not only concentrated in institutionalized and generously funded cultural clusters of cities, but they are local spaces of community gathering that reflect its cultures and history. Such creative spaces comprise the makings of NOCD, and they can also be made through revitalization of derelict spaces, such as vacant lands and buildings in the community. There are challenges to cultivating creative places, such as posed by efforts in building partnerships, overcoming regulatory hurdles, and securing adequate funding. Creative placemaking may sometimes be attributed as a gentrification force that can lead to displacement of local businesses and residents. However, the participatory planning process can counteract this trend, as it can galvanize the collective will to cultivate structures and programs for public spaces. Creative placemaking can contribute to making a robust economy through locally based commerce, as well as creating jobs in construction, manufacturing, and entrepreneurship, among others, as well as foster creative development of community youth through education and training (Markusen and

Gadwa. 2010). In recognition of the arts and cultural practices as integral parts of community development, ArtPlace was established in 2011 as a collaborative grant making entity formed by national banks, foundations, and federal agencies such as the National Endowment for the Arts, to support initiatives for creative placemaking. In the two years since its launch, it has awarded a total of $26.9 million through 80 grants to

76 organizations in 46 communities located nationwide (ArtPlace. 2012). ArtPlace has an open application process, which reflects their understanding that the clear goals of creative placemaking are approached and achieved through various means. For example, an ArtPlace funded initiative in Detroit devised innovative conversions of vacant buildings, which were programmed as venues for exhibitions and performances, established as artist residencies, and created spaces for community gathering. There are many values garnered through creative placemaking, as a proxy for local economic development and preservation of social capital, where skills and imagination of artists and the creatively engaged public can be utilized as assets, applied to the collective purpose of making vibrant and thriving communities

(Coletta. 2012). Tactical Urbanism is an approach of creative placemaking that employs alternative tactics to adapt and revitalize public space. There are a number of terms to describe this practice, including guerilla urbanism, pop-up urbanism, and city repair. There are many examples of creative tactics nationwide, such as Pop-Up Shops established on vacant land in various cities, Pavement to Parks in San Francisco, Pavement to Plaza and Play Streets in NYC. These pilots can usually be placed at a low cost, and generally have a high success rate, which can also be rendered towards permanent installations. These tactics range in scale and scope, from within a building, extending to the

9 street, or encompassing a city block, as they are place-based and at human scale. Considered as an incubatory model of decentralized public action, the implementation of tactics present opportunities to experiment with new concepts and launch pilot projects. By definition, these tactics are deliberate and flexible, as they propose solutions to local issues with short-term commitment and expectations, open to contribution and revisions throughout their durations. While allowing for citywide management where they are essential and efficient, creative tactics can be generated by and for the dynamics of a particular community, often developed through a neighborhood based design charette, as expressions of self-determination through local actions. These tactics are phased and incremental, as they insert beauty and improved functionality into public space (Lyndon. 2011).

10 Systems Diagram

11 4. Precedence

There are various models of regenerating public space that incorporate creativity and innovation into their production and programming. A type of action can repurpose vacant buildings to support creative endeavors, such as initiated by the Creative Space Agency in London that operates a web portal to provide a networking forum to connect artists and cultural workers to utilize vacant spaces. The Lower Manhattan Cultural Council takes another approach through Swing Space, a project-based artists residency program launched in 2005, that provides short-term spaces for development and presentation of art in alternative spaces of Lower Manhattan and Governor’s Island. Also prevalent are temporary conversions of spaces within buildings, reconfigured to accommodate exhibitions and events, such as curated by No Longer Empty in NYC. Concurrent with the allure of possibilities associated with revitalizing any public space, buildings or lots, are their constraints, including complexities of their jurisdictions and management criteria, from zoning parameters, occupancy capacity, necessary resources, to concerns of safety and liabilities. In NYC, there are many publically owned warehoused spaces, buildings and lots, access to which entail a complex process of permitting and approval by the city. Additionally, an important aspect of any implementation process is the relationship between the activators of a space and the community it is embedded in, and how a decentralized cultivation of a given space can facilitate interaction and collaboration (Panel Discussion. 2012). Among the myriad of initiatives worldwide designed to reinvigorate vacant spaces of cities, the following three examples are particularly relevant to the premise of this research. First precedent is the work of the 596 Acres, a NYC grassroots public education initiative, founded in 2011; to provide free and accessible information about the available publically owned vacant lots throughout the five boroughs of NYC. 596 Acres provides public resources through their information portal, coupled with their technical expertise and advocacy to facilitate public discussions about possibilities for the activation of vacant lots in communities. In order to navigate the complexities of public land ownership and to realize projects, their recommended approach is to propose interim use of the space in service of community purpose. It is a tactic that fosters fluidity and innovation, as it recognizes the dynamic nature of urban development, that spaces are transformative in response to the needs and desires of a particular place in time. An example of this temporality is evident in Feedback Farms, located through utilizing 596 Acres data on Bergen Street in Brooklyn, which was conceived in 2011 as a mobile community garden built atop forklift pallets (Segal. 2012). In order to determine the availability of the city’s vacant lots, 596 Acres gathered data from the Local Law 48 and Integrated Property Information System published by the NYC Department of Administrative Services. This information is correlated to the data on geographic 12 distribution and features of the city’s community gardens from the GrowNYC Community Gardens Survey conducted in 2010, then the overlapped sites are removed from their list. Additionally, web-based geographic information tools such as Google Streetview and the NYC Open Accessible Space Information System (OASIS), combined with satellite images are used to examine each lot in detail to assess the compatibility of the space for community use, further removing sites that appear to be in some form of use or are inappropriate due to its size, such as spaces less than two feet wide or lacking street level access. This information is frequently revised, as they receive input from the public on unidentified but available lots to include or updated as their status change (596 Acres. 2011). Once the points of opportunity are identified, and there is community interest in reutilizing a particular site, 596 Acres offers a two- hour workshop to facilitate “A Vacant Public Land Visioning Session”, which includes an overview of NYC land use, space warehousing practices, and their associated jurisdictions. They introduce the necessary procedures to follow as well as recommend useful tools for gaining access to these sites. Moreover, 596 Acres presents success stories from groups that have revitalized vacant lots in NYC, many of which sprung from their signage that informed the community about the availability of a given space (596 Acres. 2011). The 596 Acres model is an example of participatory planning for community use of public vacant lands, replicable through the framework of NOCD. Primarily, because the first step to any activation is a conversation among all who are interested, including long time and new coming residents, to discuss the possibilities for how the space could function to serve the community. NOCD can function as a community intermediary and facilitator to oversee this process. Because NOCD is a constantly evolving and permeable entity in communities, it is equipped to accommodate the dynamics of the temporary and transitory nature of these activations. Furthermore, once a project is initiated as a pilot or demonstration project, their prospect for long-term installation is elevated, to which NOCD can contribute, in terms of cultivating partnerships, securing funding, and supporting the ongoing management of spaces.

There's Land If You Want It (Brooklyn) by Julia Samuels. April 2012. [http://596acres.org/en/about/596-acres-archive]

14 Second precedent is a citywide initiative in Cleveland, Ohio, Reimagining Cleveland, which reutilizes vacant lots into productive landscapes for communities. Of the 20,000 vacant lots in Cleveland, 25% of them are available through the city’s land bank. In response to the effects of these vacant spaces on decreasing property value as well as putting strains on the quality of life in areas, a study on strategies for sustainable reuse of vacant land was conducted in 2008. This was a collaborative effort, conducted by local stakeholders, City of Cleveland, the Kent State Urban Design Center, and the Neighborhood Progress, Inc. (NPI), a local community development intermediary with a 20-year portfolio of community revitalization projects. As a result of this study, a partnership was formed, between NPI, LAND Studio, and the Ohio State University that launched Reimagining Cleveland as a pilot and reuse demonstration initiative in the city. The initiative is funded in part by government and philanthropic sources, which enables grants to be provided to neighborhood groups, churches, and schools to participate and document the revitalization processes, as well as to support their workshops and technical assistance offered to interested groups (Neighborhood Progress Inc. 2012). Additionally, NPI has published a resource guide for communities in Cleveland, and beyond, which outlines the process of reactivating vacant land, intervention types, location considerations, potential benefits, and commitment levels for implementation of projects. Interventions implemented through this initiative comprise of community gardens, market farms, orchards, vineyards, native plantings, side yard expansions, neighborhood pathways, pocket parks, rain gardens, and public art projects. The guide also recommends procedures for realizing projects, from site identification, community visioning session planning and hosting, follow up on the needs and desires expressed, to the preparation and implementation of a project. These guidelines present a reference for the scale and schemes to consider in this research, and the range of pilot projects reveal the many possibilities of forms that a transformation of vacant space can take shape (Zautner. 2011).

Reimagining Cleveland Projects [http://reimaginingcleveland.org/projects-3]

16 The third precedent is drawn from the City as Living Laboratory (CaLL) framework (Miss and Kim. 2010), developed by the NYC based public artist Mary Miss, whose works are positioned in the public realm and draw vocabulary from architecture, landscape architecture, and urban design disciplines. The premise of CaLL is to consider the city as a laboratory for experimentation, where synergies can be built through collaborations of artists, designers, scientists, engineers, sociologists, historians, performers, writers, and others, to make steps towards articulation and realization of social, economic, and environmental sustainability plans, such as outlined in the PlaNYC 2030 goals. Offering an array of possibilities, the CaLL devises ways to make sustainability tangible to the public and integrate them into the urban fabric, with the understanding that the citywide large-scale goals can be implemented through small and cumulative actions. CaLL emphasizes the immediacy of the arts to implement projects, utilizing readily available materials as well as finding alternatives to possible constraints posed by limitation of materials and resources. Advocating for the role of the artists, designers, and other visualizers as catalysts for social change, the CaLL endorses the function of artists as a resource to be tapped, in collaboration with existing programs and organizations, to formulate creative and innovative thinking about pressing issues of the city.

The implementation of CaLL in NYC was proposed by Mary Miss as the Broadway: 1000 Steps project, as encouraged by NYC public officials, envisioning Broadway as a new sustainable corridor of NYC. In 2011, a pilot demonstration was implemented on 137th Street in Manhattan, through a collaborative effort by the residents of the Montefiore neighborhood, Community Board 9, the City College Department of Urban Design students, and the artist, to develop and implement installations in public spaces in the community to reveal the history and the various subjects associated with the selected locations. In additions to this site, there are 20 additional hubs along Broadway under preliminary stages of development. CaLL opens a platform for raising awareness and inspiring actions through creative means, towards achieving the goals of community focused sustainability. NOCD is an ideal hub to foster similar forms of creative interventions, which can link natural systems with infrastructure and social programs, and can take many forms and programs, from the conversions of spaces into gardens and parks, to programming of performances, festivals, and exhibitions, all to provide a forum for engagement in contemplating and addressing concerns critical to the city as well as to a particular neighborhood.

City As Living Laboratory by Mary Miss and Marda Kim. (Page 7)

18 5. Inventory

Cultural resources comprise of tangible and intangible assets. They are organizations, spaces, industries, to events and festivals, and more, that represent the cultural practices and expressions of communities. Additionally, places such as houses of worship, schools, and community gardens are also a part of the cultural fabric, as contribute to the cultural development of communities. A cultural resource mapping is an effective tool to grasp the intricacies of the elements and networks that comprise the cultural resources of communities. The mapping exercise can begin to classify, identify and record the cultural occurrences in communities, and provide a reference to leverage existing resources and support their stewardship (Municipal Cultural Planning Inc. 2010). This research is intended to serve as a precursor to a cultural resource mapping exercise, which is collaborative process, as it sets out to understand the spatial distribution of cultural assets in Bed-Stuy. The inventory is designed to illustrate the cultural entities in the neighborhood that directly or indirectly foster cultural expression, and development in the neighborhood. Considered for this inventory are the cultural spaces of the neighborhood, which include arts organizations, arts groups, and community organizations that all produce cultural capital in their various forms. Additionally included are the community gardens, schools, and house of worship in the neighborhood, which also contribute to the cultural life of the community. Although the inventory is partial, focused on tangible cultural assets in the scope of this research, the inventory present an overview of where the clusters of cultural activity are located, and demonstrate the existence of NOCD in Bed-Stuy. The locations of clusters are further supported by their proximity to the commercial hubs of the neighborhood, which include the Gateway along Fulton Street and the intersection into Nostrand Avenue, as well as the merchant associations that represent the local businesses along Tompkins Avenue, Lewis Avenue, and Malcom X Boulevard. The geographical distribution of cultural assets are correlated to the availability of publically owned vacant lots in the community, as gathered from the 596 Acres database that meet the community appropriate use requisites, which provide street level access and are wider than two feet. While the inventory exercise detect NOCD clusters in the community, as they reveal the prevalence and proximities of the cultural assets in each areas. However, it is not intended to establish specific connection between points, but serves as a reference for NOCD-NY to broaden the coalition, as well as identify the potential organizations wherein collaborations can be cultivated to spur creative adaptation initiatives to activate the underutilized resource of vacant lots throughout the community.

19 CB3 NOCD Clusters and Publically Owned Vacant Lots

CB3 Cultural Resources

!( !H Galleries !( !( !H Venues !( !H ArtGroups !H b !H !( !( Community Groups !( !( !( Community Gardens !( b !( !H !( !( !( Houses of Worship !( !( b b !( !( !( bbb !( !(!H !( Schools !( !( !( !(!( !( !( b !( !( !H !( !( !( !H !( Libraries !( !( !H !( !( !H !( !( !(!( !( !( b !( !( !( !( !( !( !( !( !( NYC Owned Sites !( !( !( !H !( !( !( !( b Vacant Lots !( !H bb !( !( !( !( !( !( !( !H !H !( !( !( b !H!H bb !( !( !( !( b !( !( !( !( !( !( !( !H !( !H !( b !( !( !( b !( !( !( !(b !( !H !(b !( bb !( !( !( !(bb b!( !( !( !( !( !( !(b !( !( !( !( !( !( b !( !( !( !( !( !( b !( !( !(!( !( !( b !( !( !(!(!( !( !( b !H !( b !( !( !( !( !( !( !( !( !( !( !( b !H !( !( !( !( b !( !H !H !( b!( !( !H !( !( !( !H !H !H !( !( !( !( !H !( !H!( !( !( b !( !( !( !( !H !( !( !( !H !( !( !( !( !( !( !( !( b !( !H !( !H !( b !( !H !( !H !( !H !( !H !( !( !H !H !( !( !( !( !( !( !( !H !( !( b !( b !( !( !( b b !( !( !( !( !( b !( !( !H( !( !( !( !( !( !( b !( b !( !H b b !( !(!( b!( !( b !( !H(! bb !( !( !H(!(bbbbb !(b !( b b!(bbbbbbbbb b!( !( b b bb b !( b bb bbbbbbb b

0 0.125 0.25 0.5 Miles ¯

20 CB3 NOCD Cluster 1 Sites !( !(

!( LAFAYETTE AVE

!( !( CLIFTON PL !( 492 GREENE AVE !(b !(

!( GREENE AVE !( !( !( !( !( !( !( LEXINGTON AVE !( MARCY AVE b 494 GATES AVE !( !( !( b !( !( !( QUINCY ST !( !( !(!( !( 340 TOMPKINS AVE b !( 100 QUINCY ST b!( !( !( !( !( GATES AVE 406 NOSTRAND AVE !H THROOP AVE !( b 248BS GALLERY

TOMPKINS AVE !( !(!( MONROE ST !( MARCY AVE !H

NOSTRAND AVE GALLERY NEXT DOOR !H !H THE MEAT MARKET !H

MADISON ST BEDFORD AVE !( !( THE POETRY CLUB ART SPACE WELANCORA AUCTION HOUSE !( FRANKLIN AVE !( !( !( PUTNAM AVE !H !( !( BRIDGE STREET !( DEVELOPMENT !( CORPORATION JEFFERSON!( AVE !(

!( !( !( !( !H HANCOCK ST THE RISING ARTS !( 463 TOMPKINS AVE GALLERY !H !( b HALSEY ST BREUKELEN CELLARS !( !H !H DENIM LOUNGE !( !( ZION GALLERY !( FULTON ST !( MACON!H ST !( MACDONOUGH ST !( BEDFORD VILLAGE MARKET !( !( !( !( DECATUR ST !H( SKYLIGHT GALLERY !( HERKIMER ST !( 0 0.0250.05 0.1 Miles !( ¯ !( !H 21 CB3 NOCD Cluster 1 Galleries Name Address Genre Details 248 BS Gallery 248 Monroe Street Mixed Art gallery, performance space, garden, supperclub The Poetry Club Art Space 317 Putnam Avenue Mixed Art gallery located in a basement, focused on local and international emerging artists

Skylight Gallery 1368 Fulton Street Mixed Art gallery located in Bed-Stuy Restoration Corporation, focused on established and emerging artists from African Diaspora. Gallery Next Door 370 Tompkins Avenue Visual, Music, Art gallery operated by Bed-Vyne Wineshop. Culinary The Meat Market 380 Tompkins Avenue Mixed Art gallery and vintage clothing store, hosts performances Welancora Auction House 410 Jefferson Avenue Mixed Auction house dealing fine art, books, collectible items by artists of color

Zion Gallery 152 Macdonough Street Mixed Art gallery founded by artists, focused on artists from the community, and beyond The Rising Arts Gallery 35 Claver place Mixed Art gallery of a live/work artist community, focused on local and national artists Venues Name Address Type Details Denim Lounge 1223 Bedford Avenue Bar Performance space Breukelen Cellars 504 Nostrand Avenue Shop Wine store and art boutique Bedford Village Market 8 Macon Street Community Seasonal marketplace for local artists and vendors Market Community Organizations Name Address Type Details Bridge Street Development 460 Nostrand Avenue Local Faith based nonprofit organization focused on civic and economic Corporation Development development of the community Bed-Stuy Restoration 1368 Fulton Street Local First LDC in US, with a range of focus from housing, economic development, Corporation Development education, to art and culture, for the community Publically Owned Vacant Lots Total Acres: 0.334 Department Address Acres Details Housing Preservation & 100 Quincy Street 0.053 A group organizing around site, for potential development into a community Development garden Housing Authority 492 Greene Avenue 0.049 Adjacent to NYCHA-owned community gardens Housing Preservation & 406 Nostrand Avenue 0.026 More information from Department, no organization around site to date Development Citywide Administrative Services Marcy Avenue 0.075 More information from Department, no organization around site to date Housing Preservation & 494 Gates Avenue 0.046 More information from Department, no organization around site to date Development Housing Preservation & 340 Tompkins Avenue 0.039 More information from Department, no organization around site to date Development Housing Preservation & 463 Tompkins Avenue 0.046 More information from Department, no organization around site to date Development

22 CB3 NOCD Cluster 2 Sites !( !H b259 MARCUS GARVEY BLVD !( b261 MARCUS GARVEY BLVD !( b263 MARCUS GARVEY BLVD !( GATES AVENUE QUINCY ST b !( !H !( BED STUY FARM SHARE

PATCHEN AVE

MALCOM X BLVD !( GATES AVE

STUYVESANT AVE !( !( !( !( MARCUS GARVEY BLVD MONROE ST !( LEWIS AVE !( !( !(

THROOP AVE MADISON ST !H !( LAB 24/7 !( !(

PUTNAM AVENUE b687 HANCOCK ST !H JEFFERSON AVE MOCADA CULTURAL CENTER !( !( !H !H WELANCORA THE PARLOUR GALLERY HANCOCK ST AUCTION HOUSE !( !( 462 HALSET ST !H b ROYAL WRITERS !( HALSEY ST ORGANIZATION !H!( !( THERAPY WINE BAR !( !H MACON ST HOUSE OF ART GALLERY !( !(

!( !( !( MACDONOUGH ST !( !H !H !( !H !H BROOLYN RESCUE MISSION !( FREEBROOK SPACES BROOKLYNITE GALLERY ZION GALLERY !( !( DECATUR ST !( 191 CHANCEY ST BAINBRIDGE ST bb !( b 187 CHANCEY ST !( 358 MALCOM X BLVD !( !( !( CHAUNCEY ST !( FULTON ST bFULTON ST !( MARION ST !( b1624 FULTON ST FULTON ST FULTON ST !( 421 HERKIMER ST b b !( !( bb 440 HERKIMER ST !( 0 0.0250.05 0.1 Miles bb ¯ 444 HERKIMER ST !( 23 CB3 NOCD Cluster 2 Galleries Name Address Genre Details Mocada Cultural Center 281 Stuyvesant Avenue Mixed Art gallery The Parlour Gallery 512 Hancock Street Mixed Art gallery and performance space located in a Brownstone House of Art Gallery 373 Lewis Avenue Mixed Art gallery focused on contemporary art by emerging, mid-career, and established artists Brooklynite Gallery 334 Malcolm X Boulevard Mixed Art gallery and community space Venues Name Address Type Details Lab 24/7 247 Stuyvesant Avenue Space Arts incubator and event space Freebrook Spaces 375 Stuyvesant Avenue Space Mansion building houses Freebrook Academy, as well as provides spaces for artists Therapy Wine Bar 364 Lewis Avenue Bar Performance space Art Groups Name Address Type Details Royal Writers Organization 582 Macon Street Workshop Offers affordable courses in writing for youth, adult courses forthcoming Community Organizations Name Address Type Details Bed-Stuy Farm Share 497 Quincy Street Food Community CSA sourced from local farmers of color Brooklyn Rescue Mission 255 Bainbridge Street Food Urban agriculture locations to grow food for low-income people in the community Publically Owned Vacant Lots Total Acres: 1.617 Department Address Size Details Citywide Administrative Services 259 Marcus Garvey 0.039 Fenced, playground, picnic tables Boulevard Citywide Administrative Services 261 Marcus Garvey 0.039 Fenced, playground, picnic tables Boulevard Citywide Administrative Services 263 Marcus Garvey 0.048 Fenced, playground Boulevard Education Gates Avenue 1.03 More information from Department, no organization around site to date Housing Preservation & 462 Halsey Street 0.122 Group formed, community garden and composting site Development Housing Preservation & 687 Hancock Street 0.042 596 Acres signage Development Housing Preservation & 187 Chauncey Street 0.056 More information from Department, no organization around site to date Development Housing Preservation & 191 Chauncey Street 0.036 More information from Department, no organization around site to date Development Housing Preservation & 358 Malcolm X Boulevard 0.034 More information from Department, no organization around site to date Development Housing Preservation & 421 Herkimer Street 0.046 More information from Department, no organization around site to date Development Housing Preservation & 440 Herkimer Street 0.046 More information from Department, no organization around site to date Development Housing Preservation & 444 Herkimer Street 0.046 More information from Department, no organization around site to date Development Housing Preservation & 1624 Fulton Street 0.033 596 Acres signage Development

24 CB3 NOCD Cluster 3 Sites

b48 WARSOFF PL

!( !( !( THROOP AVE PARK AVE b !(

CIRCLE OF VOICE !H 890 MYRTLE!( AVE !( b !( !( !( 792 MYRTLE AVE !(!H !( bb b TOMPKINS PROJECT 772 MYRTLE AVE !( 776 MYRTLE AVE !( !( MYRTLE AVE !( !( !(!( !( !( !H !( !( BROOKLYN ART INCUBATOR !( !( !( !( !H !( !H GROWING STUDIO !( !( CREATIVE ART !( 913 KENT AVE b WILLOUGHBY AVE !( THROOP AVE

!( !( !( !( TOMPKINS AVE !(

!( MARCY AVE

NOSTRAND AVE !( !( BEDFORD AVE !( !H FRANKLIN AVE bb !( SUGARHILL 648 DEKALB AVE SUPPERCLUB 652 DEKALB AVE !(

KENT AVE CLASSON AVE !H DEKALB AVE DEKALB AVE !( DIVAS FOR SOCIAL JUSTICE !Hb BROOKLYN KNIGHTS PROJECT REGENERATION bbb RUSTIK TAVERN !H!H 716 LAFAYETTE AVE GEORGE WASHINGTON 718 LAFAYETTE AVE CARVER GALLERY 720 LAFAYETTE!( AVE !(

!( LAFAYETTE AVENUE

!( !( CLIFTON PL !( 492 GREENE AVE !(b !( !( 0 0.0250.05 0.1 Miles GREENE AVE !( !( ¯ !( LEXINGTON AVE !(

CB3 NOCD Cluster 3 Galleries Name Address Genre Details Creative Art 168 Skillman Street Mixed Art gallery G. Washington Carver Gallery 677 Lafayette Avenue Mixed Art gallery focused on community artists Tompkins Projects 127 Tompkins Avenue Mixed Art gallery focused on contemporary art by emerging and mid-career artists Venues Name Address Type Details Rustik Tavern 471 Dekalb Avenue Bar Performance space Brooklyn Knights 497 Dekalb Avenue Bar Performance space Sugarhill Supperclub 615 Dekalb Avenue Bar Performance space Art Groups Name Address Type Details Brooklyn Art Incubator 141 Spencer Street Education Arts education for the community Growing Studio 178 Walworth Street Collective Mixed media artist collective Community Organizations Name Address Type Details DIVAs for Social Justice 677 Lafayette Avenue Education Nonprofit organization provides young women to pursue careers in media and technology through providing workshops and mentorships Project Re-Generation 679 Lafayette Avenue Education Nonprofit organization provides youth with opportunities to participate in community maintenance focused Foot Soldiers, service project Community Pride Day, and educational poetry program Circle of Voice 891 Myrtle Avenue Education Nonprofit organization formed by women of African decent, providing multi-cultural arts events and programs Publically Owned Vacant Lots Total Acres: 3.222 Department Address Size Details Environmental Protection 913 Kent Avenue 1.46 More information from Department, no organization around site to date Citywide Administrative Services Throop Avenue 0.064 More information from Department, no organization around site to date Sanitation 48 Warsoff Place 1.084 A group organizing around site, for potential development into a community garden Housing Preservation & 772 Myrtle Avenue 0.057 More information from Department, no organization around site to date Development Housing Preservation & 776 Myrtle Avenue 0.057 More information from Department, no organization around site to date Development Housing Preservation & 792 Myrtle Avenue 0.057 More information from Department, no organization around site to date Development Housing Preservation & 890 Myrtle Avenue 0.057 More information from Department, no organization around site to date Development Citywide Administrative Services 648 Dekalb Avenue 0.089 No record of property by Department Citywide Administrative Services 652 Dekalb Avenue 0.115 No record of property by Department Housing Authority 492 Greene Avenue 0.049 More information from Department, no organization around site to date

Housing Preservation & 716 Lafayette Avenue 0.044 A group organizing around site, for potential development into a community garden Development Housing Preservation & 718 Lafayette Avenue 0.046 More information from Department, no organization around site to date Development Housing Preservation & 720 Lafayette Avenue 0.043 More information from Department Development 26 Possibilities of Creative Adaptation Tactic Form Example Animation Community Gathering, Market NOMAD Gardens (San Francisco, CA), Vacant Lot Project (Albany, NY), ARTS Market (Phoenix, AR), Place Free Store (Brooklyn, NY) Construction Annex, Pop-Up Peralta Junction (Oakland, CA), Dekalb Market (Brooklyn, NY), Putting Lot (Brooklyn, NY)

Cultivation Agriculture, Native Planting Parkway Partners (New Orleans, LA), Mill Creek Farm (Philadelphia, PA), Green Plate Special (Seattle, WA) Expression Performance Art (Music, Dance, A Lot Series (Long Beach, CA), Mission Arts and Performance Project (San Francisco, CA), Holding Theater, Poetry) Patterns (Seattle, WA), PlayHouse (Philadelphia, PA) Generation Alternative Energy, Water Growth Through Energy & Community Health (Pittsburgh, PA, Reimaging Cleveland (Cleveland, Ohio), Harvesting Small Street Rain Garden Project (Baltimore, MD) Remediation Clean-Up, Recycling You Are The City Phytoremediation Project (Bronx, NY), Compost For Brooklyn CB4 (Brooklyn, NY) Visualization Visual Art, Community Canvas Vacant Lot Project (Albany, CA), Lincoln Street Art Park (Detroit, MI), Holding Patterns (Seattle, WA), LentSpace (Manhattan, NY)

Examples of Creative Adaptation Project Place Summary Initiative launched in 2009 by Grand Street Community Arts, in collaboration with the City of Albany Vacant Lot Vacant Lot Project Albany, NY Stabilization Program to develop alternative programs for vacant lots, in partnership with the residents and stakeholders of communities. Small Street Rain Garden Garden established in 2000 by a neighborhood resident. Designed to percolate rainwater into the ground, the Baltimore, MD Project site formed by swales and native plantings.

You Are The City A demonstration site established in 2010, by NYC research collective, in parallel to the publication of the Field Bronx, NY Phytoremediation Project Guide to Phytoremediation, which illustrate ways contaminated soil can be remediated through plants.

Community compost project established on a vacant lot in 2012, in Kensington, Brooklyn. The space Compost for Brooklyn CB4 Brooklyn, NY contributes to minimize putrescible waste, and offers public education programs.

A market place constructed with a collection of shipping containers, established in Summer 2011 through Fall Dekalb Market Brooklyn, NY 2012 on a series of vacant lots in downtown Brooklyn, featuring products from local artisans and entrepreneurs.

A pop-up store started in 2010, and held weekly from Summer to Fall in Bed-Stuy, which provides a space for Free Store Brooklyn, NY community to give or take, in the form of barter or exchange.

Citywide initiative launched in 2008 to provide financial and technical support for community groups to revitalize Reimagining Cleveland Cleveland, OH vacant lots through sustainability measures, including agriculture, native plantings, and phytoremediation.

27 Project Place Summary

An outdoor art gallery developed in partnership with a grassroots recycling center established in 2011, Lincoln Street Art Park Detroit, MI featuring artwork made with salvaged materials from the community.

Initiative of the Lower Manhattan Cultural Council that created a temporary outdoor cultural space for the LentSpace Manhattan, NY summer months of 2012, utilizing a combination of public and private owed vacant land in downtown Manhattan.

A non-profit organization that establishes community gardens, street planting initiatives, and beautification of Parkway Partners New Orleans, LA vacant land throughout New Orleans.

A pop-up market and event space established on a vacant lot during Fall 2012, programmed for arts based Peralta Junction Oakland, CA gathering, workshops, performances, and local retail.

An educational urban farm established in 2005 on a vacant lot, which was an extension of a community garden Mill Creek Farm Philadelphia, PA located on a portion of the site for 25 years.

A project by Marianne Bernstein presented in Design Philadelphia 2011, created as a performance space, the PlayHouse Philadelphia, PA aluminum cube placed on a vacant lot projected images and stories of the artist's various initiatives to activate vacant land throughout the city.

As part of the Roosevelt Row Adaptive Reuse of Temporary Spaces, the pop-up space was established on a ARTS Market Phoenix, AR vacant lot in 2011, featuring exhibitions and markets for local artists and artisans.

Growth Through Energy & Conceived as a graduate study project in 2006, and established in 2008, the initiative creates pilot project to Pittsburgh, PA Community Health remediate land through cultivation of biofuel crops, as well as offer training and facilitation to communities.

Mission Arts and Launched in 2003, a bi-monthly art walk and curated performance program that utilizes various alternative San Francisco, CA Performance Project spaces for community gathering, including streets, vacant lots, garages, gardens, cafes and galleries.

A nomadic garden conceived in 2012, currently in the process of raising funds to implement on a vacant lot, NOMAD Gardens San Francisco, CA with design features that include raised bed plantings and performance space.

A non-profit youth oriented garden established in 2010 on a vacant lot, providing educational programs in Green Plate Special Seattle, WA agriculture, nutrition, and preparations of healthy food.

A public competition in 2010 by the city's Design Commission that called for innovative proposal to utilize Holding Patterns Seattle, WA vacant lots. 13 finalists met with respective agencies and prospective property owners to implement projects.

28 Cultural assets of communities create fertile ground upon which to foster the collective imagination to utilize common resources in the community. These actions can be a catalyst for finding alternative directions and solutions to pressing concerns of a place in time. Creative adaptation is one means to achieve this, where community engagement can be directed towards regenerating idle spaces, where they can be designed and programmed to serve the community determined purpose. There are number of forms this may take in the context of Bed- Stuy, and it is for the community to decide, as it responds to their needs and desires, such as to promote opportunities to celebrate local talents and to support places of learning that cultivate and nurture the creativity of youth in the community. There are abundant examples, as shown above, that illustrate the possibilities of how underutilized public space may be creatively adapted. The array of approaches provide a reference for the community, to serve as a framework to build on as well as to generated new ideas. In order to implement any creative adaptation project, it is necessary to identify community partners and cultivate participation from the community. This can be done in many ways through a workshop or design charette, interviews of stakeholders in the community, or through survey of questionnaires that gauge community interest and perspectives. Collaboration is imperative for any process of implementation, so that it is self-directed by the participants, to develop objectives, envision possibilities, and to strategize for approaches to realize and fulfill the collective goals of the community. NOCD as embedded in place, each component within it have a shared interest in contributing to the cultural development of the community. NOCD is a pertinent framework to facilitate the revitalization of publically owned underutilized land in Bed-Stuy in order to advance collective goals through creative engagement, towards the development and programming of these spaces. Considering NOCD as a network, and as localized catchment areas of cultural activity, it is equipped to facilitate the outreach and participation process towards implementation of projects. As an organic and evolving entity in the community, NOCD can contribute to building momentum, and raising awareness around possibilities and towards the realization of creative adaptations.

“Hundreds of thousands of people with hundreds of thousands of plans and purposes built the city and only they will rebuild the city.”

~Jane Jacobs, as quoted in the exhibition Re-Imagining Cities: Urban Design After the Age of Oil, Municipal Arts Society of New York, October 2009

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