The concept of three funding tiers in the metro Denver area Scientific and Cultural Facilities District (SCFD) evolved after the district’s initial legislation was rejected by the Colorado legislature in the mid-80’s. Major cultural groups were unable to reach an agreement on the levels of funding prior to the first State Senate committee hearing.
The primary purpose of the legislation was to replace state and municipal funding for Denver’s major regional cultural facilities – the Denver Natural History Museum (now Denver Museum of Nature and Science), the Denver Zoo (now Denver Zoo Conservation Alliance), the Denver Art Museum, and the Denver Botanic Gardens. This group became Tier I with a set formula and an agreed division among the participants.
Sponsors and supporters recognized that as a regional tax district, the six suburban counties (now seven) should participate directly in funding and receive support for their local cultural organizations. They became the original second tier (later designated Tier III). Counties received funds to participate relative to the amount they contributed to the regional tax and within the purpose of the statute. Local elected officials (county commissioners) controlled distribution of those funds.
But a group of Denver-based cultural organizations wanted to share in the possible new tax dollars. The group was led by the Colorado Symphony and the Denver Center for the Performing Arts (DCPA) and included the Arvada Center for Arts and Humanities, two opera companies (Central City and Denver), the Denver Ballet (now Colorado Ballet), as well as the Children’s Museum. They were privately run nonprofits (except for the Arvada Center) that had received some government grants but not regular tax dollars. Additionally, they lacked broad regional appeal and had little track record of using tax dollars. The dominant impression of these group was that they procure their own support, mostly from wealthy patrons and donors.
The regional tax concept for cultural facilities was already a stretch for most Colorado legislators. Even though the four main Denver facilities had received regular tax funding from Denver and appropriations from the State – both funding streams ended or were greatly diminished in the 1980’s. This new group, which became labeled in the legislation as Tier II, had several statutory rules attached to make their entrance onto the tax rolls more acceptable and accountable. An annual threshold of $700,000 per organization was set and the amount received was based on an audience and budget audit. The intent was to promote access by creating an incentive for increased attendance, and also to demonstrate that the public attached particular value to the facility (i.e., ticket and attendance revenue). Budget requirements were important to ensure each would continue private development efforts. The concept would help attract audiences and avoid stagnant, narrow missions.
Does the Tier concept maintain value today?
- Tier I continues to reflect the largest public investments in cultural infrastructure in the seven-county Denver metropolitan area. The Tier I institutions (now numbering five with the addition of the DCPA) are both the repositories and
stewards of the largest, most visited and valuable cultural assets in the metro region, charged with processing, interpreting and disseminating the region’s cultural heritage.
- The collections held by the DMNS, DAM, DBG and Zoo within Tier I are huge curations of art, natural history, plants and animals, and monetarily worth a staggering amount (billions). But beyond that, they play a vital role in maintaining and sharing the communities’ cultural identity and history.
- The physical structures Tier I organizations inhabit have been enhanced and expanded over the years through significant investment by private donors and Denver property taxpayers. They are cultural monuments and serve as the central social infrastructure in the community.
- Tier I is still highly favored in public opinion. The organizations are identified as the best known and most popular cultural institutions in the region in repeated polls and most recently in a 2025 poll (see chart below).
Ultimately, SCFD awards are public taxpayer dollars. When the SCFD goes to voters for its periodic extensions, it must compete against other priorities for public funds. Organizations must justify the extraordinary grant of tax funding and demonstrate continued value to voters.
Colorado State Capitol | Photo: Library of Congress Carol Highsmith
