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The Loft History In order to
establish this we have to look at the economic and
social factors that shaped this movement and go back
to the turn of the century when in the great cities
of Europe and America there was a heavy
concentration of cast ironed framed buildings being
erected. These properties, designed for light
industrial use had large open floor plates,
benefited from powerful expanses of wall to ceiling
glass frontages and were a forerunner to the
architectural concepts of the modernist movement.
All housed huge workforces crowded together in
sweatshop conditions or stored exotic foods and
spices.
In the 1950's American culture was rich with the
beat generation of Kerouc and Cassidy and the age of
Warhol was dawning at the same time as these
properties became no longer suitable for the
requirements of industries modernising for the
times. Landlords were forced to look towards the
artists who were prepared to take advantage of the
space and economy and in particular, SoHo (the area
south of Houston, in New York formerly nick named
"hells one hundred acres") saw dramatic change as it
became gentrified by the influx of a creative
community.
Between 1957 to 1967 the area became vibrant and hip
as the likes of artists such as Janis Joplin's Texan
alumni Robert Rauschenberg and Jasper Johns moved in
as described in Marcus Fields excellent book Lofts
(published by Lawrence King Publishing). The
community was further boosted and the range of
artistic activity expanded by Co-operatives such as
the leading art project "Fluxhouse no 2" and works
being performed by artists as diverse as Bertold
Brecht and Yoko Ono.
The course of art did not run easy and these pioneer
loft dwellers did not have an easy time. Planning
regulations, being what they still are today, tend
to obstruct the natural forces of community
evolvement and many occupiers were forced into a
strategy of subterfuge to hide their domestic use of
commercial studios. Within minutes of a surprise
visit by the fire officer, apartments would be
turned into workspace by the use of pulleys and
false walls to conceal living and sleeping
arrangements. At all times, litter carefully
concealed the remnants of domestic goods, which
could betray the real use of the premises.
A pivotal moment in the movement of the SoHo loft
came about as numerous plans were submitted for
SoHo's development amongst which were designs to
demolish entire blocks for an expressway. Enter one
Professor Chester Rankin. Employed by the city to
undertake a social, economic and physical study of
the district, his resultant Rapkin Report of 1963
identified significant economic activity, a
regeneration of the area and highlighted the
importance of conservation. This last issue was
picked up by other pressure groups in other cities,
such as Berlin and London, who campaigned for the
protection of similar loft buildings.
As the use these spaces became legitimate and
widespread, the images of Warhol partying with the
Velvet Underground became etched on to the
consciousness of an international audience and the
Loft became synonymous with cool.
In Boston, the loft boom started just several
years ago and is still booming. Industrial areas as
East Boston, South Washington Street, Seaport
District and the theatre district are being rezoning
to residential loft areas. Boston developers
recognize the world wide trend and converting old
factories and warehouses into spacious luxury lofts
as Lafayette lofts and Channel Center. |
