“How do you form a creative space that is sustainable? How do you institutionalize something while keeping it free and fun? These are the important questions we keep asking ourselves,” says Timothy Firth, the director of Belltown-based arts collective, studio, and gallery Common AREA Maintenance (or CAM). The self-described “scrappy” collective has campaigned over the last year to acquire the El Rey building in Belltown, the next-door neighbor of their Second Avenue gallery, studio, and performance space (Common AREA), not only to save it from demolition but to create affordable artist housing and community resources. Last week, CAM officially announced that their plan had worked, and that they’ve acquired the building for the symbolic price of $20, with the Office of Housing agreeing to forgive the $2.2 million loan if CAM can get the El Rey structurally sound and in compliance with fire codes.  

Built in 1910, the El Rey is a four-story brick apartment building on Second Avenue in Belltown, between Lenora and Blanchard Streets. Unlike many of its neighboring buildings, the architecture of the El Rey is relatively modest and not encrusted with ornate embellishments, but that doesn’t mean it’s not worth saving. Many early-20th-century buildings in Belltown were constructed as worker housing in a very critical period in Seattle’s history, after the Denny Regrade, when there was an urgent need for low-income housing for dock workers. CAM’s advocacy for the arts community is not dissimilar to these origins. “I was really inspired by the building’s history as worker housing,” Firth explains. “Often when an old building in Seattle is torn down, and a new one gets built, the new building is not available to the working-class community anymore: It's not for the arts, and it's not affordable housing.” He continues, “It’s extra ridiculous to tear down the El Rey, because it’s gone through substantial alterations over the years. It has a seismic upgrade, new energy systems, and a sprinkler system—with a very small investment, it is ready for housing and community use.” CAM’s ultimate goal is to fill the top two floors with eight to 12 one- and two-bedroom apartments for working artists who make around 50 percent of the area's median income.

But CAM isn’t just planning to create affordable housing for artists; they are building a cultural space that will be a home to an artist residency program and a performance space. With the Crocodile just down the street closing their sister venues, Madame Lou’s and the Here-After, this is a welcome reprieve for the neighborhood. “There's such a powerful need for a performance space, especially ones that are modest in size,” says Firth. “It’s important to have smaller spaces that are available for people who are exploring new ideas and are in a generative exploration phase of their practice or their career.” Firth envisions the performance and gallery space at the El Rey will follow in the footsteps of their rented Common OBJECTS and Common AREA spaces, expanding their capacity to support artists and performers, including comedy, plays, modern dance, poetry readings, and more.

The El Rey is also home to two retail spaces, which CAM hopes to fill with mission-based organizations. While it’s too early to name any names, there are already a few organizations interested in renting the space. “There are so many cool people in Seattle doing wonderful things,” Firth gushes, “but it's very expensive to run a brick-and-mortar space.” Is it possible to make these spaces more affordable? In Firth’s mind, the answer is yes. “If we approach the project around this debt-free model, and we're not paying a debt every month, that means we are servicing our mission; that's what feels really, really powerful.”

As for the timeline, Firth explains that the project will work in phases, starting with stabilizing the building and getting it off the fire watch. Then, CAM hopes to get the ground floor operational and ready to be of use to musicians and artists while they’re still fundraising for construction costs within the first year. Hopefully, Firth says, if everything goes according to plan (a year of permitting and planning, a year of construction, and a year of stabilizing and inviting people on), the building should be fully functional within three years. 

Firth also made it clear that this is just the beginning for CAM and other arts organizations when it comes to saving properties and offering resources to artists. “There should be at least 50 versions of what we're doing,” he states. “But the question is, how can we get a seat at the table?” Firth asks. “Oftentimes, we are not invited to the table. And, if we get there, how are we supposed to know the etiquette of the protocol?” In the last six months alone, Firth has spoken to numerous artists who are trying to start similar projects as CAM, and he is eager to share any spreadsheets, resources, or knowledge that have helped him guide the El Rey acquisition.