Title: Cultural Planning Creating Cultural Opportunities for Sustainable Communities
1Cultural PlanningCreating Cultural Opportunities
for Sustainable Communities
2Context
- Amenity Planning Standards (1920s/ 1940s/
1950-60s New Towns) - Arts Centre / Community Arts movement (1970s)
- Culture Regeneration (1980s -) Urban
Renaissance - Arts Social Inclusion (1990s -) Creative
Partnerships, Best Value - Sustainable Communities (2000 -) Quality of Life,
Living Places - Drivers of change
- Population growth migration, older/longer,
family/single households - Housing Growth/areas 3m new homes - 240,000 p.a.
(2001-25) - New Localism, Entrepreneurialism, Sustainable
Communities Strategies - Developer/Planning Gains Community Levy,
Infrastructure - Compact City/High Density Reduced Car-use
Local Amenities
3Cultural Planning What is it?
- Cultural planning is a process of inclusive
community consultation - and decision-making that helps local government
identify cultural - resources and think strategically about how these
resources can - help a community to achieve its civic goals. It
is also a strategic - approach that directly and indirectly integrates
the communitys - cultural resources into a wide range of local
government planning - activities. Circus of Dreams (2001) Public Dreams
Society Vancouver - Cultural planning is the strategic and
integrated planning and use of - cultural resources in urban and community
development - (Mercer, 2006, and see Ghilardi, 2004). This in
turn implies - An approach based on broad definitions of
'culture' and 'cultural resources', which
encompass heritage, local traditions, arts,
media, crafts, topography, architecture, urban
design, recreation, sports, entertainment,
tourism and the cultural representations of
places, and - A culturally sensitive approach to urban and
regional planning and to environmental, social
and economic policy-making
4The Cultural Dimension of Urban Planning
Strategies An evolution of physical-economic
cultural planning paradigms Adapted by the
author from Freestone and Gibson (2006)
Adapted by the author from Freestone and Gibson
(2006)
5Standards of provision
6Tariffs Special Planning Guidance (SPG)
- Milton Keynes Roof tax - 18,500
- MLA Southeast Library Tariff - 92.13 per person
for new housing, equivalent to 221 with an
average size of 2.4 persons - Supplementary Planning/SPD for Public Art
- Sport Facility Calculator (Active Places
People) population standard x unit cost (11.87
m2 sports hall) - Other amenities and cultural facilities?
- Choice over amenities and facilities ?
7Frequency of engagement
8Scale Hierarchy Every Town should Have One?
(J.Lane, 1978)
9Arts Centre movement
- This phenomenal growth is in no sense the result
of central, regional or local planning by any one
agency, least of all the Arts Council. It is, and
has been unplanned (Stark, 1984). - This was also mirrored in France from the 1960s
(Malrauxs Maison de la Culture) and artsc.
centre growth in N.America etc - Stark made four assertions
- Their unplanned status meant that there was never
enough - food for them on the table - i.e. funding
- 2. They are architectural opportunists - over 80
of arts centres - were housed in second-hand buildings - churches,
drill halls, town - halls, over 50 of urban centres were in
buildings 100 years old - 3. They are economic and efficient -
multi-use/purpose, weekday/end - /evening opening
- 4. They are masters of disguise - in terms of
their programme, - purpose, attracting a wide mix of funding, in
addition to 'arts - funding.
10- 750 facilities were mapped (colour-coded) by
one or a combination of these - categories (ie multivalent complexes), in terms
of those that are city-owned - and independent (70 of the total). As in other
cities, facilities are found in - clusters and corridors, and are not evenly
dispersed across the city. - located in an area that has high pedestrian
traffic - near an abundance of public transportation
- near easy access to major highways
- part of a critical mass of like facilities.
- The cultural facilities map is supported by a
database that includes more - detailed information on each facility. In
addition to providing a street address, - the database also captures the following facility
characteristics - Art Forms - Performing, Visual, Media, Multi-Use
- Facility Type - Theatre, Museum, Club,
Multipurpose, Auditorium - Ownership - City Owned or Non-City Owned
- User Groups - A listing of known user groups
(where easily identified)
11Arts Centres today
- The foundation of many arts centres and community
- arts facilities continues to draw as much from
local - action, as planning.
- From the recent review of funded arts centres in
- England (ACE, 2006) most were established as the
- result of one or a combination of
-
- action by a local resident or group of residents
- action by an arts or community organisation to
establish - or improve a facility
- the development of new school, college or
university - facilities
- a local authority seeking to improve local
provision or, - more recently, to regenerate an area
12Classifying Culture
- Arts Cultural agencies type of production
- programme (art form, collection, beneficiaries)
- Local/City authorities licencing/control,
- municipal amenity/recreation, image
- Planning land-use, public use/space, conflicts
- of use, access, parking
- Commercial/tourism entertainment, visitor
- attractions, destination marketing
- Community place of social exchange/ meeting,
participation, enjoyment, education
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14Cultural facilities
- An attempt to describe and map cultural
facilities not just functionally, but in terms of
- a regional cultural strategy and impacts, has
been adopted in the Toronto, Ontario - (Davies, 2003).
- Hubs provide support for cultural activity
throughout all of the Citys diverse - communities. They tend to be community driven
and nurture cultural activities at - a local level. About 60 of hubs tend to be
concentrated in the downtown core - and about one third are City owned.
- Incubators provide support for Torontos
artists. They tend to be artist-run - facilities, Heavily clustered in specific urban
neighbourhoods. More than 90 of - existing incubators are not owned by the City
of Toronto. - Showcases provide support for culture as part of
the Citys Economic - Development and Tourism Strategy. These
facilities often have regional, national - or international profile. They are directed to
more than a local community and are - key tourist destinations or attractions. More
than 80 of showcases are not - owned by the City of Toronto.
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16Cultural Planning Guidance
17Cultural Mapping Guidance
18Urban Cultural Districts (Philadelphia)
19 Cultural Planning
TOOLKIT
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21Methodology
22Cultural plans can also take varying forms and
serve wider and more specific purposes. Different
types of Cultural Planning can include
- Cultural plan with predominantly single
discipline focus - Community-wide plan with a specific focus, for
example on the arts sector alone - Community cultural assessment or cultural mapping
- A comprehensive identification and analysis of a
communitys cultural resources and needs gathered
through a - broadly based consultative/collaborative
process. It is a critical early phase of any
cultural planning process. - Specialized arts or cultural assessment
- Assessment with a specific focus, e.g., economic
impact, feasibility study for fundraising
campaign or facility - development, cultural tourism potential
- Specific issue plan
- Community-wide plan focused on a single issue,
e.g., access and diversity - Specific district cultural plan
- Plan with integrated goals for only one
geographic portion of a community (e.g. inner
city or neighbourhood) - Cultural component of municipal or regional
general plan - vertical
23Community Cultural Assessment
- Use demographic (census) data to identify
relevant characteristics of the population - Examine the cultural and social needs of
different groups within the population - Categorise and list and/or map the areas
cultural resources, including facilities, - activities, people, organisations, valued places
and landscapes, previous cultural - projects, community services/facilities,
economic activities - Identify plans for new or expanded cultural
resources - Consider the relationships that exist between the
areas various cultural resources - Identify barriers of access to cultural
development activities by different groups - Examine the actual or potential leadership and
support roles in cultural development of - civic, social, educational, religious, business
and other organisations - Overview strengths and weaknesses in community
cultural activity
24Stages in Cultural Plan Assessment
25Populating the Cultural Plan
26Developing a typology for Living Places
Seeing
Collaborating
Remembering
Doing
27A new typology for culture
Seeing
- Different-sized locators on maps to indicate
scale of facility
Collaborating
Remembering
Doing
Global
National
Regional
Local
Sub- regional
28A new typology for culture
29Example Typical West End Theatre
West End Theatre Location Drury Lane
WC1N Floorspace XXX m2 Seats XXX No of
performances (annual) 365 Other interesting
facts
30Example Very local community centre
V.L. Community Centre Location Housing estate,
somewhere Floorspace XXX m2 Programming dance
classes, community meetings Other interesting
facts
31Mapping cultural provision and participation
32 33 Performing arts venues
Household penetration by Postcode Sector
34Theatre Audience reach
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42Taking Part Survey, DCMS (2006)
43Growth regions - (MKSM) North Northants
44Milton Keynes Tariff (Roof Tax 18,500 per
dwelling)
4.59 million 1.5 for culture explicitly
(excluding libraries) 170 per home spread
over 10 years (27,000 homes) 15.05 million for
Leisure Community 555 per home
45Reurbanizing the suburbs? Milton
Keynes (Audience) I spent many years in Milton
Keynes. I loved it as a city. I understand that
it may grow to a city of half a million or a
million people. What would you do to MK to make
it a place where arts were a contemporary and
necessary experience? SPH (Artistic) Build a
smaller theatre for a start. The present theatre
is a dehumanizing space. Its well attended
because, presumably, there is nothing else that
gives you the beginnings of that kind of
experience, but its not a congenial
theatre. SPH (Planner) I think MK is
difficult precisely because it is so completely
new. MK central is the most totally created,
planned space that we have in this country..But I
think the problem the problem with MK is that it
has been too successful. So it does not have any
derelict spaces. If you go to Germany they have
this federal constitution (like America), but
its very beneficial, because every decent city
has an incredible array of good theatre and even
an opera house, because they are all competing
with each other to show that they are the best
state. (City, 10(3), 2006) The distinction
between (artistic) content, the iconic/flagship
facility and the importance of place (cultural
and symbolic) is apparent from these
observations. The idea that building a new
theatre is necessarily the right type of
provision or the complete answer to local
cultural provision is obviously questionable.
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47Population growth and change
- 52,100 new homes
- 47,000 new jobs
- by 2021
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52Cultural Governance
Culture Governance The Fourth Pillar of
Sustainability (Hawkes, 2001) Bennett argues
culture itself should be thought of as
inherently governmental, so that culture is
used to refer to a set of practices for social
management deployed to constitute autonomous
populations as self-governing (1995) Residents
in Wellingborough (in NNDC Growth area) were
asked how they felt about opportunities for
participation in local decision-making. They
mostly disagreed that they had an influence on
decisions affecting the local area - access to
facilities was a problem (public transport) and
30 to 48 said they had never visited their
museums, theatres and concerts halls, and those
that did went infrequently (WBC Best Value,
2007)
53The cultural dimension in spatial planning
54Non-Planning or Flexible Planning
Integrated cultural planning may not be the right
approach as it tends to raise expectations beyond
reality. Tiresome culture-related shopping lists
are not helpful (Kunzmann 2004).
Give communities the freedom to decide for
themselves how they want to use each part, each
spacethe measure of success is the way that
spaces are used, the diversity of activities
which they attract, and the opportunities they
provide for creative reinterpretation
(Hertzberger, 1991)
55Concluding issues - discussion
- Planning for cultural facilities or cultural
programmes ? - How can artists/cultural organisations feature
more in - the urban development/design and planning
process ? - Barriers to cultural participation how far are
they - cultural capital or supply / environmental-led ?
- Does size matter? scale, strategic, local-global
- Planning for new not incumbent communities ?
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57Key referencesLiving Places/Cultural Planning
Toolkit website launching Summer 2008
- Evans, G.L. (2001) Cultural Planning An Urban
Renaissance? Routledge - Evans, G.L. (2005) Measure for Measure
Evaluating the Evidence of - Cultures Contribution to Regeneration. Urban
Studies, 42(5/6), 959-983 - Freestone, R. and Gibson, C. (2006) The Cultural
Dimension of Urban - Planning Strategies An Historical Perspective.
In, Culture, Urbanism - and Planning. Aldershot, Ashgate, 21-41
- Hawkes, J. (2001) The Fourth Pillar of
Sustainability Cultures Essential - role in Public Planning. Melbourne Cultural
Development Network - Creative City Network of Canada (2007) Cultural
Mapping and Cultural - Planning Toolkits. Vancouver, 2010 Legacies Now
- Thames Gateway North Kent (2006) Cultural
Planning Framework Toolkit - Evans, G and Foord, J. (2008) Cultural Mapping
and Sustainable Communities - Planning for the Arts revisited, Cultural Trends
,16(5)
58www.citiesinstitute.org
cities_at_londonmet.ac.uk