SoHo , sometimes written Soho , is an environment in Lower Manhattan, New York City, which in recent history has been a public concern for being the location of many loft and artists. art galleries, but is now better known for its range of shops ranging from trendy upscale boutiques to national and international chain outlets. The history of this area is a basic example of regeneration and inner-city gentrification, which includes socio-economic, cultural, political, and architectural developments.
The name "SoHo" refers to the area So uth Ho uston Street ", and also a reference to Soho, an area in West End London. It was coined by Chester Rapkin, a city planner and author of the South Houston Industrial Area study, also known as "Rapkin Report". It started a naming convention that became the model for emerging and re-purposing neighborhood names in New York such as TriBeCa for " Tri angle Be low Ca nal Street ", DUMBO (" D has U with M anhattan B ridge O verpass "), NoHo (" Nothing from Ho uston Street "), NoLIta (" Nothing from L ittle Ita ly ") and NoMad (" Nothing rth of Mad ison Square "), among others.
Almost all SoHo are included in the SoHo-Cast Iron Historic District, designated by the New York City Landmark Conservation Commission in 1973, renewed in 2010, and listed on the National Register of Historic Places and declared a National Historic Landmark in 1978. It consists of 26 blocks and about 500 buildings, many of which incorporate cast iron architectural elements. Many streets in a paved district with Belgian blocks.
SoHo is part of the Manhattan Community Board 2.
Video SoHo, Manhattan
Geografi
Boundary
Due to the nature of the environment in New York City, different sources will often provide different restrictions for each. In the case of SoHo, all sources seem to agree that the northern boundary is Houston Street, and the southern boundary is Canal Street, but the east and west border locations are moot.
In 1974, not long after SoHo first appeared, The New York Times described the limits as "stretching from Houston to Canal Streets between West Broadway and Lafayette Street" - a definition that continues to be maintained in 2016 - but The Encyclopedia of New York City reports that SoHo is limited by Crosby Street in the east, and Sixth Avenue to the west. This is the same restriction shown by Google Maps. However, the AIA Guide to New York City provides the western boundary of SoHo north of Broome Street as West Broadway, and the New York magazine provides the eastern boundary as Lafayette Street and the western boundary as the Hudson River. A very small scale map on the Community 2 profile page on the official website of New York City shows Sixth Avenue and Lafayette Street as the west and east border.
Summing up on these sources, SoHo's western boundary might be the Hudson River, Sixth Avenue or West Broadway, and the eastern boundary might be Crosby Street or Lafayette Street.
In the 1990s, real estate agents began to provide an adjacent environment under the various recommendations of West Houston Street, without a general agreement about whether it should be called West SoHo, Hudson Square or the South Village. The AIA Guide calls the neighborhood "A brick and glass intersection, looking for identity," and refers to the western part as "The Glass Box District".
Historic District
The SoHo-Cast Iron Historical District is within the categorized SoHo neighborhood. Originally ending west on the east side of West Broadway and east on the west side of Crosby Street, SoHo-Cast Iron Historical District expanded in 2010 to cover most of West Broadway and to extend east to Lafayette and the Center Streets. The boundary lines are not straight, and several front-blocks on West Broadway and Lafayette are excluded from the District.
Maps SoHo, Manhattan
History
Initial years
During the colonial period, the land now called SoHo was part of a grant of agricultural land given to freed slaves of the Dutch East Indies Company, and the first free Black settlement location on Manhattan island. This land was acquired in the 1660s by Augustine Hermann, and then passed on to his brother-in-law, Nicholas Bayard. The land was confiscated by the state as a result of Bayard's part in the Leisler Rebellion, but was returned to him after his sentence was canceled.
In the natural barrier of the 18th century - flow and hills - hampered the growth of the city northward to the Bayard region, and the area retained its rural character. During the American Revolution, the area was the site of many strongholds, heritage, and hard workers. After the war, Bayard, who suffered financially therefore, was forced to mortgage some property, which was divided into many, but even then there was little development in the area, apart from some manufactures on Broadway and Canal. Street.
Serious development in the area did not begin until the General Council, answering the complaints of landowners in the area, drained the Collecting Pool, which was once an important source of freshwater for the island, but which had become polluted and the rank and breeding ground of mosquitoes. A canal was built to drain the pool to the Hudson, and the canals and ponds were both filled with earth from Bayard's Hill nearby. Once Broadway is paved and sidewalks are built there and along Canal Street, many people start making their home there, joining previous arrivals like James Fennimore Cooper.
Trade, entertainment and decline
In the mid-19th century, the early Romanian and Greek Resurrection style houses were replaced by more densely packed stone and cast iron structures, and along Broadway, large, marbled commercial companies began to open, such as Lord & amp; Taylor, Arnold Constable & amp; Company and Tiffany & amp; The company, as well as the major hotels such as St. John's. Nicholas and Metropolitan. The theater follows behind them, and Broadway between the Canal and Houston Streets becomes a vibrant theater and shopping district and a New York entertainment center; as usual with such areas, it is home to many brothels as well, and side streets outside Broadway become the city's red light district. Because these character changes encourage the middle class, where they are taken by small manufacturing problems, including cabinet makers and timber manufacturers that supply them, brass and copper companies, porcelain and glassware makers, locksmiths, tobacco makers and book publishers.
The dramatic shift in the nature of the environment continued to drive out the population, and between 1860 and 1865 the Eighth Ward, which belongs to the SoHo region, lost 25% of its population. After the Civil War and Panic of 1873, in the 1880s and 90s, major manufacturers began to move to the area, especially textile companies, and the area became the center of the dry goods trade and trade in municipal goods, and become its subject. significant real-estate speculation. This phase ended at the end of the 19th century, and as the city center continued to move up the city, the quality of the area declined.
After World War II, the textile industry largely moved to the South, leaving many large buildings in uninhabited districts. In some buildings they were replaced by warehouses and printing factories, and other buildings demolished to be replaced by gas stations, car workshops and parking lots and garages. In the 1950s, the area was known as Hell's Hundred Acres, an industrial empty lot, filled with sweatshops and small factories by day, but empty at night. It will not be until the 1960s, when artists got drawn to high ceilings and lots of empty manufacturing loft windows, that the character of the environment began to change again.
Cast-iron architecture
SoHo boasts the largest collection of iron architecture in the world. About 250 steel buildings stand in New York City and most are in SoHo. Cast iron was originally used as a front ornament over a pre-existing building. With the addition of modern decorative facades, older industrial buildings were able to attract new commercial clients. Most of these facades were built during the period 1840-1880. In addition to the revitalization of older structures, buildings in SoHo were later designed to feature cast iron.
An American architectural innovation, cheaper cast iron is used for facades rather than materials such as stone or bricks. Mold ornaments, prefabricated in casting, are used interchangeably for many buildings, and broken pieces can be easily rearranged. Buildings can be erected quickly; some built in four months. Despite the short construction period, the quality of iron design is not sacrificed. Bronze was previously the most commonly used metal for architectural detail. Architects found that relatively inexpensive cast iron can provide intricately designed patterns. Classic French and Italian architectural design is often used as a model for this facade. Because the stone is a material associated with architectural masterpieces, cast iron, painted in neutral colors like beige, is used to simulate stones.
There are many cast iron foundries in New York, including Badger Iron Works Architecture, James L. Jackson Iron Works, and Cornell Iron Works.
Because the iron is pliable and easily shaped, the fancy curved window frames are created, and the metal strength allows this frame to be quite high. The once-illuminated interior of gas from industrial districts is flooded with sunlight through enlarged windows. Cast iron strength allowed high ceilings with sleek supporting columns, and the interior became spacious and functional.
During the heyday of cast iron, many architects thought it was structurally more sound than steel. It is also considered that cast iron will be fireproof, and the facade is built on many interiors made of wood and other combustible materials. When exposed to heat, cast iron curved, and then cracked under cold water used to extinguish the fire. In 1899, a building code requiring the support of iron fronts with stone was passed. Most of the buildings that stand today are built in this way. It was the emergence of steel as the main construction material that ended the era of cast iron.
Lower Manhattan Expressway
In the 1960s, the SoHo area was the site of two huge overpasses consisting of two branches of the Lower Manhattan Expressway, a Robert Moses project intended to make cars and trucks via-routes connecting the Manhattan Bridge and the Williamsburg Bridge to the east with the Dutch Tunnel to the west.
The historic preservation movement and the criticism of young architecture, stung by the destruction of the original Pennsylvania Station in 1963 and threats to other historic structures, challenged the plan because it threatened the loss of a large number of 19th century iron castings.
When John V. Lindsay became mayor of New York City in 1966, his initial reaction was to try to push the exit, naming the Lower Manhattan Toll Road project, suppressing some proposed toll roads in residential areas and emphasizing the importance of arteries. to the city. However, through the efforts of Jane Jacobs, Tony D'Apolito, Margot Gayle, and other local, civil, and cultural leaders, and SoHo artists themselves, the project was derailed.
Artist moves in
After the abandonment of the toll road scheme, the city was abandoned by a large number of historic buildings that were unattractive to the type of manufacturing and trading that survived in the city in the 1970s. The upper floors of many of these buildings have been built as a commercial Manhattan attic, which provides unstoppable large spaces for the manufacture and use of other industries. These spaces attract artists who appreciate them for large areas, large windows that receive natural light and low rents. Much of this space is also used illegally as a living space, although it is not categorized or equipped for residential use. This widespread zoning violation was disregarded for a long period of time, as artists used space that was slightly in demand due to the city's poor economy at the time, and would be abandoned or abandoned otherwise.
However, as the artist population grew, the city made several attempts to stem the movement, worried about the occupation of spaces that did not meet residential building codes, and the possibility that the occupied space might be needed for the return of manufacturing to New York. City. Pressed on many sides, the city abandoned efforts to keep the district as a tight industrial space, and in 1971, the Zoning Resolution was changed to allow the Joint Working Place for artists, and the M1-5a and M-5b districts were established to allow visual, according to the Ministry of Culture, to stay where they work. In 1987, non-artists living in SoHo and NoHo were allowed to become their own grandparents, but it was the only extension for non-artists and was a one-time agreement.
This area received marking of landmarks as the SoHo-Cast Iron Historic District in 1973.
Gentrification and shopping
In 2005, the construction of residential buildings on vacant land in historic districts was allowed. However, without the enforcement of new zoning laws by the city, beginning in the 1980s, in a way that would later apply elsewhere, the environment began to attract more affluent populations. Due to the protection and stability of the lease provided by Loft Act 1982, despite the fact that many of the artists owned by their cooperatives, many original pioneer artists remained independent of the popular misconception that gentrification forced them to flee. Many residents have lived in the neighborhood for decades. In the mid-1990s, most galleries moved to Chelsea, but some galleries remain in 2013, including William Bennett Gallery, Martin Lawrence Gallery, Terrain Gallery, Franklin Bowles Gallery, and Pop Gallery International.
The location of SoHo, the lofts' appeal as a living space, its architecture, and its reputation as a haven for artists all contribute to this change. The pattern of gentrification is usually known as the "SoHo Effect" and has been observed elsewhere in the United States. As the backdrop of poor artists and small factories in the 1970s, SoHo became a popular tourist destination for people looking for fashionable clothes and exquisite architecture, and home to some of the most expensive real estate in the country.
The SoHo chain stores are clustered in the northern neighborhoods, along Broadway and Prince as well as Spring Streets. The sidewalks in this area are often crowded with tourists and with merchants selling jewelry, T-shirts, and other works. SoHo is known for its commercialization and eclectic mix of boutiques for shopping. Although in 2010, the store has twice as many outlets as boutiques and three times as many boutiques as art galleries.
Transportation
SoHo is within reach by Subway New York City, using the A , C and span> E trains to Spring Street; Train 1 and 2 to Houston Street; train N , Q , R , and W to Prince Street; and train 4 , 6 , and & lt; 6 & gt; to Spring Street. The crosstown M21 on Houston Street and north-south of M1, the M55 bus route also serves the neighborhood.
School
- Montessori School in Soho (75 Sullivan Street)
- There is no New York City School of Education school located within SoHo, although there are some outside its borders, including:
- Broome Street Academy Charter School (M522, 121 Avenue of the Americas)
- Chelsea Academy of Careers and Higher Education (M615, 131 Avenue of the Americas)
- NYC Ischool (M376, 131 Avenue of the Americas)
- P.S. 130 School of Hernando de Soto (M130, 143 Baxter Street)
- Center for Unity for Urban Technology (M500, 121 Avenue of the Americas)
Demographics
About 13,310 people live in SoHo at the 2010 US Census.
In 2011, about 67% of people living on the Manhattan Community Board 2 - which is part of the SoHo - were white. The other 15% are Asian, 8% Hispanic, and 1% black.
See also
- Leslie Lohman Gay Art Foundation
- Soho Grand Hotel
- Vesuvio Playground
References
Information notes
Quotes
Bibliography
External links
- SoHo Alliance Community Organization
- SoHo, New York - Use, Density, and Power of Myth by Alistair Barr, Architect
Source of the article : Wikipedia
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