This study investigates the willingness of homebuyers to pay for co-location with iconic architecture. Oak Park, Illinois was chosen as the study area given its unique claim of having 24 residential structures designed by world-famous American architect Frank Lloyd Wright, in addition to dozens of other designated landmarks and three preservation districts. This study adds to the limited body of existing literature on the external price effects of architectural design and is unique in its focus on residential architecture. We find a premium of about 8.5% within 50-100m of the nearest Wright building and about 5% within 50-250m. These results indicate that an external premium to iconic architecture does exist, although it may partially be attributable to the prominence of the architect
Den tette byens verdi. En litteratur- og metodestudie av den samfunnsøkonomiske verdien av byfortetting
Det pågår betydelig fortetting i mange norske byer og kommuner, ofte uten en helhetlig planlegging. Muligheter til gode løsninger kan dermed oversees, og verdier kan forsvinne. Det er også sannsynlig at fortetting ikke bare bringer med seg positive virkninger. Det er sannsynlig at i noen områder kan de positive virkningene være avtakende eller ikke-eksisterende, enten som følge av at det blir et for stort press på bygodene (infrastruktur, service, tjenester, uteliv, variert kulturtilbud, flere restauranter, spesialisert handel osv.) som følge av trengsel, eller at fortettingen er gjort uten helhetlig planlegging. Byfortetting kan innebære kortsiktige kostnader for samfunnet, for eksempel i form av høye tomtekostnader, og disse kostnadene er ofte lett synlige og enkle å beregne. Det er dermed viktig at også nytten av tiltak blir synliggjort i økonomiske termer. Det kan bidra til bedre forståelse for, og gi økte insentiver til å gjennomføre byfortetting. God byfortetting kan defineres av at den har en verdi for nåværende og kommende generasjoner. Mange er enige i at byfortetting har verdi og betydning for samfunnet, men den totale samfunnsnytten kan være vanskelig å måle. Økt kunnskap om verdien av byfortetting kan derfor føre til at det blir enklere å fatte gode og riktige beslutninger hvor man tidligere har undervurdert samfunnsnytten.
For å forbedre dette kunnskapsgrunnlaget har formålet med dette prosjektet vært å:
- Gjennomføre en forskningsbasert litteraturstudie over hva som finnes av verdsettingsstudier av byfortetting og elementer av byfortetting og byliv
- Oppsummere resultater om hvilke goder som er verdsatt, og hvilke verdier som er funnet for disse godene og tjenestene, og vurdere om disse kan overføres til andre sammenhenger (ved hjelp av verdioverføringsmetoder)
- Vurdere og gi en anbefaling om hvilke metoder som synes best egnet for verdsetting av denne typen goder.
This is a blog post where a list can be found with the 109 Spanish crowdfunding platforms active in 2012, sorted by model. Although it is obsolete, it can be useful as base for future lists.
Substitutability and complementarity of urban amenities: external effects of built heritage in Berlin
This article analyzes the impact of designated landmarks on condominium transaction prices in Berlin, Germany. We test for price differentials between listed and nonlisted properties and study their impact on surrounding property prices. The proximity to built heritage is captured by the distance to listed houses and heritage potentiality indicators. Impact is assessed by applying a hedonic model to microlevel data, and this process also addresses spatial dependency. While our findings suggest that designated landmarks do not sell at a premium or discount, landmarks are found to have positive external effects on surrounding property prices within a distance of approximately 600 m.
Fashion industry professionals’ viewpoints on creative traits and, strategies for creativity development
Through in-depth interviews, the study explored fashion industry professionals’ viewpoints, on creativity, focusing on traits of creative people and how creativity can be developed. Four creative, traits were identified, including different thought processes, determination, having an open mind, and, risk taking. About one-third of participants believed that creativity is innate, and therefore, some, people were born creative whereas others were not. Another third of participants maintained that, everyone has some creative potential that can be further developed. The remaining fashion, professionals distinguished artistic creativity from creative problem solving. Suggested strategies for, creativity enhancement and development included (1) practicing creative thinking strategies, (2), formal training, (3) diverse experiences and exposure to the world; and (4) creating a safe, yet, challenging environment.
This paper provides an exploratory study of how rewards-based crowdfunding affects business model development for music industry artists, labels and live sector companies. The empirical methodology incorporated a qualitative, semi-structured, three-stage interview design with fifty seven senior executives from industry crowdfunding platforms and three stakeholder groups. The results and analysis cover new research ground and provide conceptual models to develop theoretical foundations for further research in this field. The findings indicate that the financial model benefits of crowdfunding for independent artists are dependent on fan base demographic variables relating to age group and genre due to sustained apprehension from younger audiences. Furthermore, major labels are now considering a more user-centric financial model as an innovation strategy, and the impact of crowdfunding on their marketing model may already be initiating its development in terms of creativity, strength and artist relations.
Formålet med denne rapporten er å utrede og kartlegge i hvilken grad det nasjonale virkemiddelapparatet rettet mot musikkindustrien har virkemidler som svarer til virksomheters behov. Virksomhetenes behov for finansiering av drift, kompetanseheving og ulike drivere og barrierer for utvikling, særlig i forhold til internasjonalisering og eksport har blitt vektlagt i analyser. Behov og ønsker er forsøkt avdekket gjennom en kvalitativ studie hvor 18 virksomheter, som har det til felles at de enten har mottatt Music Norways eksportprogram eller vært deltagere i det tilpassede FRAM programmet for musikkindustrien i regi av Innovasjon Norge og Music Norway, har deltatt.
Prosjektet er gjennomført i samarbeid med Music Norway og Buzzfond, som har bidratt med delfinansiering, kontakt med informanter og virksomhetene og personalressurser.
Denne rapporten handler om rekruttering, status og utvikling av blues i Norge. Initiativet for prosjektet er tatt av Europas Bluessenter (EBS), som ønsket å få mer kunnskap om bluesens status for å kunne videreutvikle virksomheten og opprettholde blues som en sterk merkevare på Notodden og i Telemark
The music business, as any other business with a strong online presence or that relies on digital technologies for its advancement, has become much more complex and intricate in recent years and there are now many more stakeholders in the music “ecosystem” than 20 or 30 years ago.
Who are these stakeholders, how do they relate to each other and how do they inﬂuence the music network? With these questions in mind this working paper aims to review the current state-of-the-art on new business models in the music industry by carrying out a structural analysis. It looks into diverse examples to illustrate how the value chain of the music business has been transforming in recent years to accommodate for (mostly technological) innovations in terms of music creation, production, distribution and market development. This leads me to propose a model of a value network for the music industry that reﬂects all this. A model that aims to add to the ongoing discussion regarding the reshaping of the music industry and its understanding, serving as the basis for future development of more useful models and tools for the industry and the research community.
Lastly, I also analyze the Norwegian market in its current state to try to reveal opportunities and vulnerabilities in order to suggest key areas of development for the future, including the kind of government action possible and desirable in the musical arena.
This PhD thesis is an in-depth study on Norwegian dance band music and culture. Dance band can be defined both as a specific music genre with its own songs and lyrics, artists and aesthetic contents, and as a taste culture in a wider sense of the word, which includes festivals and events where the artists and their audience meet to dance, sing and celebrate the social and cultural values they share. Dancing to dance band music is the most central activity at the dance band festivals, but many people also attend the events in order to listen to their favorite bands and/or socialize with other fans and dancers present. Dance band culture also includes magazines and internet communities where the fans and lovers of dance band music read about their favorite artists and discuss their interest. The research object of this thesis is not just the musical genre of dance band; it is dance band culture in a wider sense of the word, as a whole set of social practices and aesthetic expressions. By using Bourdieu’s concept of field, the research object of the thesis is defined as the field of dance band.
Dance band music is a popular cultural expression in Norway, in the sense that a large number of people listen to and dance to the music, buy records and attend events where the music is performed. But dance band music does not enjoy a high status in the field of culture as such: Critics tend to describe it as bad taste, simple, commercial and of poor quality. The artists performing it are not included in any official cultural policy plans or funding systems, as is the case for musicians from almost every other musical genre in Norway. As a consequence of the disparagement of dance band music and culture it has not yet been the object of much research. A few Norwegian and Swedish studies, however, confirm the position of the dance band in the lower part of the cultural hierarchy. According to present cultural statistics, those who listen to dance band music are working class people with low education living in rural areas. Furthermore, the aesthetic content of the dance band music is described as classically lowbrow, in the sense that it is characterised by following strict conventional formulas rather than being artistically experimental, and that the music promotes functional use and involvement rather than distance and critical reflection.
The departure point of this thesis is the people in the field of dance band; those who love to listen to and dance to dance band music, and those who perform and promote this music. The aim of the thesis is to analyze how these people experience being part of a popular and widespread, but devalued part of Norwegian culture.
The main research question of the thesis is: What social and aesthetical values and distinctions are present in the field of dance band in Norway, and how do these values and distinctions contribute to establishing a social community in the field?
The main question is elaborated through four sub questions:
1) What is the meaning and function of dance band festivals in relation to the wider field of dance band?
2) How do the statements and practices of the participants at the dance band festivals and events contribute to establishing certain taste distinctions in the field of dance band?
3) How do the discussions on quality and artistic recognition in dance band music relate to the general social values of the field of dance band?
4) How does the devalued position of the field of dance band in the Norwegian field of culture affect the construction of a community among the participants in the field?
The thesis is based on empirical data from participant observation at events in the field of dance band, such as festival and public dances, through qualitative interviews with central persons in the field (dance band musicians, dancers, fans), and through qualitative analysis of magazine texts about dance band music and culture.
Karin Ibenholt er ansvarlig for denne databasen. Send gjerne forslag til endringer eller bidrag til henne.