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REVITALISATION THROUGH ARTS AND CULTURE - Central Europe

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ForewordJürgen MarkwirthDear Reader,SECOND CHANCE – From Industrial Use to Creative Impulse. This slogan encapsulatesthe vision of five <strong>Europe</strong>an cities to bring new life to former industrialsites and transform them into vital, creative and successful cultural spaces.During the last 50 years, the economic structure in <strong>Europe</strong> has changed from anindustrial, manufacturing-based economy to a post-industrial, service-basedeconomy, with significant effects on the labour markets. Since the 1990s, thousandsof factories have been shut down and more than 50 % of the manufacturingjobs in <strong>Europe</strong> have been lost. Consequently, in every country and almostevery city of <strong>Europe</strong>, one can find brownfield areas in need of revitalisationproviding a chance to preserve or improve the quality of urban living conditions.Within the <strong>Central</strong> <strong>Europe</strong>an project SECOND CHANCE, public, public-equivalentand private partners from Krakow (PL), Leipzig (DE), Ljubljana (SI), Nuremberg (DE)and Venice (IT) have developed innovative concepts and strategies to transformderelict sites into the cultural linchpins of their cities, while at the same timeenhancing the attractiveness of the neighbourhoods where the sites are locatedand spurring urban development in these areas.The questions this brochure deals with are crucial for many local and regionalauthorities in <strong>Europe</strong>: How can we succeed in such important challenges ascreating new employment and stimulating local economies within the contextof the sustainable development of <strong>Europe</strong> and the Agenda 2020? Howcan we reuse urban brownfields and integrate creative industries in order torevitalise and modernise our cities? And last but not least, how can cooperationbetween public and private partners as well as with other cities in <strong>Europe</strong>help us to achieve these objectives? We are delighted that the guest authorsProf. Dr. Klaus R. Kunzmann (DE), Dr. Matjaž Uršič (SI) and Dr. Katrin Fischer (DE)have agreed to contribute to this publication and to our search for answers.This publication summarises the outcomes of the first 30 months of theproject, highlighting the strengths of the approaches taken, without concealingthe problems that arose during this period. In our experience, the best answersand solutions derive from our transnational cooperation, from the study of bestpractices and from exchange at the <strong>Europe</strong>an and international level. We hopethat this brochure will encourage cities and cultural entrepreneurs to give morebrownfields in <strong>Europe</strong> a ’second chance‘.Jürgen MarkwirthHead of the Department for Culture and Leisure, City of NurembergHead of the SECOND CHANCE project23


focusing their research interest on macro-economic theories and econometricmodelling. Within less than a decade, however, the creative economy hasbecome a new field of interest, providing new hope for local economies andemployment in times of deindustrialisation and the shift of production to Asia.In the early days of the new discovery, no reliable data were available to appraisethe creative economy. This has been one reason, most likely, why thesector has been very much ignored. In the meantime, such data have becomeavailable. As a rule the British definition of the creative economy is now takenas a standard:Melbourne (AU): beautifying an inner-city backyard to help market the city as a lively place and global centre for the arts, 20123. The Discovery of the Creative EconomyNew information and communication technologies and new logistics havecreated new production systems and structural change. In <strong>Europe</strong>, with fewexceptions, traditional large-scale industries are gradually disappearing. Theyare increasingly replaced by small and medium-sized industries, shifting tospecialised, tailor-made production, complimented by a wide range of production-orientedservices. One of the fastest growing fields of services is thosethat deliver design and marketing to meet the growing demand of consumersfor well-designed products. Beauty has become a rediscovered value in thepost-industrial society. Creative industries offer their competence in marketingthese products in print and electronic media and in public and semi-publicspaces around the world. This, in turn, spurs the continuous growth of creativeand cultural industries in cities and regions, gradually changing the structureof local economies. It has taken some time for stakeholders in the local andregional economic development community to become aware of this change(Myerscough, 1988; Heinze, 1995; Howkins, 2001). For too long, even the academiccommunity neglected and belittled this segment of the economy, insteadCreative Industries are those activities which have their origin in individualcreativity, skill and talent and which have a potential for wealth and jobcreation through the generation and exploitation of intellectual property.Creative industries are based on individuals with creative arts skills, in alliancewith managers and technologists, making marketable products whoseeconomic value lie in their cultural (or ‘intellectual’) properties (UK Departmentof Culture, Media and Sport, 2000).The creative industries include:››advertising››architecture››crafts and designer furniture››fashion clothing››film, video and other audiovisual production››graphic design››educational and leisure software››live and recorded music››performing arts and entertainments››television, radio and internet broadcasting››visual arts and antiques››writing and publishing.However, the definition of which branches belong to the creative and culturalindustries is still disputed and varies from country to country. In France, for example,segments of up-scale gastronomy are included in the creative economyand in Denmark, even sports is included. In Germany, creative and culturalindustries are defined in a different way; in addition to the broad and fuzzy field12I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality13


of cultural industries as defined above, the gaming and software industries areadded to the sector.Whether the definition really matters is subject to individual understanding. Itconcerns those who have been commissioned to carry out empirical studiesto support policy-making. In defining the sector, all kinds of compromises aremade in the end to turn hard figures into soft arguments for local and regionalpolicies. Planners in <strong>Europe</strong> have learned that it makes sense to adapt the definitionto local conditions and to the respective local indigenous potential forstrategies if they wish to promote the creative economy in a city and region.There is another reason why creative industries have garnered so much interestin the developed world. In post-industrial times, modes of work and productionare changing, and, with such change, location factors are adjusting. Thetraditional concept of separating workspaces and living spaces is no longervalid. Creative industries favour inner-city locations where face-to-face communicationis easy and fast, where personal networks can be established, wherecreative milieus nourish innovation, where access to clients is comfortable andwhere they are visible. City planners, promoting the 24-hour city and searchingfor new users for derelict inner-city buildings and brownfields, cheer such development.Similarly, the tourist industry welcomes the creative industry fever,knowing that cultural quarters raise the urban attractiveness of the inner cityand consumption of local design products and services.4. The Return of Culture to the Political AgendaDriven by growing urban competition and higher educational levels of thepopulation, culture as a policy field in cities and regions receives more andmore political attention and support. Cultural flagships, spectacular art exhibitions,film festivals and the like have become important image and locationfactors for attracting qualified labour, media coverage and conventions. Consequently,the modernisation and development of cultural infrastructure andthe promotion of cultural festivals and events has become an important field ofaction in urban development. In the precincts of prestigious museums, clustersof museums and art institutions are developed. They trigger or speed-up thetransformation of urban neighbourhoods into creative quarters, accommodatingthe growing demand for spaces for creative industries. Although budgetsfor culture policies are not really augmented, the new appreciation of culturein cities prevents local policy makers from cutting the respective budgets. Eveninstitutions of higher education in the fields of fine and performing arts, musicor media and design are receiving more public support. Private sponsorship ofthe arts joins public policy to raise the cultural profile of cities. All this is linkedto the fact that the cultural life in a city, the quality of its cultural infrastructureand events and its cultural profile are essential elements of a city’s local identitybuilding and global image branding.5. The Appeal of the Creative City Concept to Marketing andTourism ManagersNot surprisingly the creative city image thrills the local tourism communityand urban marketing managers. They know that a creative city image, and allthe fuzzy images linked to it, attracts journalists and media interest, touristcorporations exploring the map for new targets for city tourism and conventionmanagers searching for suitable locations for international conventions. Acreative city is considered to be a particular strong magnet for young tourists,who wish to discover uncharted urban territories, beyond the traditional touristcircuits. Often supported by special sponsoring programs, such as artist-inresidenceschemes, a creative city attracts young as well as renowned writersand artists, who seek the creative environment of such a place. There, they hopeto find new inspiration for their artwork, musical compositions and literary writing– and new networks of similar-minded people. The results of their work inthe creative city add to the fame of the place, and, communicated beyond theplace, attract more interest in experiencing the spirit of the location. It is a selfreinforcingprocess, which has significant economic effects, particularly for thehospitality industries, cultural facilities and tourist-dependent souvenir shopsin a city. There are many pertinent examples of how the creative city profilehas raised the international image of a city. Berlin is a good example; Bilbao,Glasgow and Lille are others. The interest of cities around the world in gettingthe UNESCO seal as a creative place, such as city of literature, city of music, cityof design or the competitive race of cities to become cultural capital of <strong>Europe</strong>for a year, shows how much the creative and cultural image of a city is valuedpolitically, culturally and economically. The web-sites of self-proclaimed creativecities tell the story.6. Demographic Change, New Values and ‘Urban Renaissance’Changing demographic structures and new values have considerable impact onthe locational behaviour of households in cities. In many city regions in <strong>Europe</strong>,14I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality15


suburbanisation is stagnating. This results from a number of trends (Zukin,1988). A growing number of single households – in many <strong>Europe</strong>an cities theirnumbers are approaching more than 50 percent of the total number of households– and young, double-income households with no kids prefer inner-citylocations. They no longer wish to spend long hours in morning and afternoontraffic jams. They prefer living near their workplaces and having better accessto inner-urban shopping and entertainment districts, knowledge complexesand creative quarters, as well as their work-related networks and friends andcolleagues. Senior citizens, in turn, suffer from growing isolation in suburbancommunities and from a gradual erosion of public and private services in suchcommunities. Whenever they can afford it, senior citizens sell their suburbanvillas and return to the urban quarters of densely built-up cities. There theyhave better access to healthcare facilities and places where they can enjoythe amenities of urban life together with family and friends, without using acar. The growing number of highly-educated households with different valuesystems prefers the spirit of urbanity to the burden of taking care of a suburbangarden. The evolving cosmopolitan mix of citizens in <strong>Europe</strong>an cities is an additionalfactor that explains the rediscovery of the virtues of urban life. All thisleads to what is now branded as ‘urban renaissance’. Cultural infrastructure andcreative quarters in inner-city districts are, in turn, intrinsic elements of this.7. New Uses for Abandoned Industrial Structures and Derelict BrownfieldsWhen searching for suitable locations for cultural and creative activities,obsolete factories, warehouses, derelict industrial structures in the built-upurban landscape and the like are the preferred objects of desire of creativeyoung entrepreneurs, now often named ‘culturepreneurs’ (Lange, 2007). Usually,such structures have a particular flair, character and profile. Often protectedas industrial heritage, they have a different identity and appeal to architects,artists, musicians and creative entrepreneurs. They differ from average officebuildings or prefabricated production spaces and warehouses in industrialdistricts, and they offer flexible and, as a rule, affordable space. More than oncesuch buildings have been illegally squatted by pioneering artists desperatelylooking for experimental space and affordable studios for working. Initiated bythe new occupants, such areas are often used as spaces for innovative culturalevents, performances and off-exhibitions. Once such structures are re-qualifiedand revitalised by cultural activities, they become cultural hot spots in a city,magnets for communities of culture, for tourists and young entrepreneurs whoare searching for spaces to start new production or services. They are followedgradually by architects, young developers, publishing outlets, and soon byclubs, coffee-shops and restaurants. More than once, such quarters have beenthe result of a grassroots movement in a city, with occasional media-coveredconflicts between user groups, activist groups, the property owners and the cityadministration.Planners in more open and innovative cities, in turn, lead initiatives to supportthe reuse of inner-urban brownfields for cultural and creative use. They havelearned that a new cultural hot spot in a city is a good opportunity to raise theimage of a quarter, which otherwise tends to be branded as a no-go area. In thisprocess, they have to face the fact that such developments tend to trigger andnourish gentrification processes in an urban quarter, inevitably causing socialcontroversies and media-covered political conflicts (Smith, 1996).8. The Opportunity to Bridge Urban Policies and the Revival ofStrategic Planning in Urban DevelopmentThere is yet another reason why planners, policy advisors and city managersalike are so pleased by the creative city concept. After years of separate action,the creative city paradigm seems to bring city planning, local economic planningand cultural development together. Aware that the aims of creative citydevelopment cannot be achieved by sectoral approaches, they are compelledto seek cooperation through communication with the respective other departmentsin the city. Thus separate logics, which used to dominate the action inurban planning, local economic planning and planning for cultural development,have to be overcome when selecting and implementing projects andprogrammes for creative city development. The common interest in revitalisinga brownfield, improving an urban piazza, launching a cultural festival orapplying for a major cultural event, helps enormously in overcoming departmentaljealousies in a city and avoiding the red tape and usual communicationstrategies used to defend vested departmental interests. Given that creativecity development is less ideologically loaded than other concepts, such as, forexample, sustainable development, it is much easier to achieve mutually beneficialcooperation and concerted actions. Finally, the creative city concept is anew reason to initiate longer-term strategic planning in a city, giving day-to-dayincrementalism a new perspective.All these reasons make the creative city a perfect plug-in concept for those whowish to promote their city as an attractive and competitive place to live and16I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality17


What Is a Creative City?Still, one question has not yet been answered. What is a creative city? Can a cityas a whole be creative? Why are some cities considered to be creative andothers not? Can one make a city creative? Such questions may be asked, thoughthe answers vary. Some of the reasons for this have been given above.On the roof of the former production building HALLE 14 at the Leipzig Baumwollspinnerei (DE): Tea Mäkipää (FI), 1:1, 2004, during the exhibition The Passion ofCollecting, 2005work in the post-industrial era. They demonstrate that the creativity conceptoffers a complex set of densely interwoven justifications. These reasons explainwhy the creative city concept has received so much publicity in quite differentacademic communities and policy arenas beyond cultural and languageboundaries.Metropolitan cities in <strong>Europe</strong> seem to have a particular interest in raising thecreative dimension of their city image, as it complements perfectly, and aboveall positively, other image factors. Cities such as Berlin, Paris, London, Amsterdamor Milan welcome the new interest in the creative economy and refer totheir traditional role as centres of culture and creativity. Even cities like Zurich,better known for their profile as banking centres, try to incorporate the creativedimension in their local development strategies (Heider, et al., 2009). Smallerand medium-sized cities are more hesitant to follow the fashionable trend,unless they can demonstrate, like Salzburg, Florence or Aix-en-Provence, thatculture and the arts have always been a key element of city development. Asa rule they prefer not to jump on the creative city bandwagon, claiming thatgood and creative governance committed to citizens and the local economy hasalways been essential for successful local urban development.One of the first attempts to study the importance of culture was made as earlyas 1979 by Harvey Perloff for the city of Los Angeles. In his landmark study, TheArts in the Economic Life of a City, Perloff and his team identified nine essentialfactors for a city aiming to communicate its paramount role as a cultural centrein the emerging media-dominated world. These factors are knowledge, image,identity, cultural life, townscape, architecture, parks and public spaces, urbanheritage, and food and conviviality. In one way or another, all subsequent writingsabout the creative city come back to these factors, of course with differentemphases (Perloff, 1979).Another important book anticipated the later excitement for culture in urbanpolicies by exploring the economic dimensions of culture in a city. The book TheCultural Economy of Cities by Allan J. Scott, exploring culture-related segmentsof local economies in Los Angeles and Paris, did not describe and market thecreative city, but highlighted the fact that culture in a city ‘is one of the leadingedges of the post-Fordist economic revolution and can also be big business’(Scott, 2000: cover).In his influential book, written in the same year, Charles Landry offers the followingdefinition of a creative place by referring to creative milieus:A creative milieu is a place – either a cluster of buildings, a part of a city,a city as a whole or a region – that contains the necessary preconditionsin terms of ‘hard’ and ‘soft’ infrastructure to generate a flow of ideas andinventions. Such a milieu is a physical setting where a critical mass ofentrepreneurs, intellectuals, social activists, artists, administrators, powerbrokers or students can operate in an open-minded, cosmopolitan contextand where face to face interaction creates new ideas, artefacts, products,services and institutions and as a consequence contributes to economicsuccess (Landry, 2000: 133).18I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality19


This well-worded definition, however, does not really show the way to make acreative city. This is done rather in an earlier study on which his book is based(Bianchini, et al., 1996). There, the ‘ingredients’, or rather the criteria for assessingthe creativity of a city and, hence, the success factors of creative cities, weregiven as follows:››hard factors are a precondition to unleash potential creativity. Museums,exhibition halls, theatres, concert halls and other visible elements of acity’s cultural history and profile as well as culture-related institutions likegalleries, auction houses or educational institutions that are known beyondlocal boundaries.››history. The cultural dimension of a city’s history; the urban heritage;citizens, particularly architects, artists, musicians or poets, who have beeninfluential in advancing culture and creativity and whose names are closelylinked to the city.››the importance of individuals. Local opinion leaders, stakeholders, politicalleaders, cultural stars, journalists, academics and personalities whoserve as drivers for cultural development in the city.››open communication. The socially liberal climate of cosmopolitan milieusand open discourse in a city, allowing controversial communal dialoguesand debates on cultural projects and issues.››networking. The physical, social and economic preconditions in a city thatallow cultural networking and enable local actors in the field to cooperate.››organisational capacity. Public and private organisations that have thecompetence and manpower and the political support to manage culturaland creative projects and events, and that are flexible and open for newstrategies to promote creativity in a city.››the recognition that there is a crisis or challenge to be solved. Experienceshows that a challenge or even a local crisis helps to nourish creativeaction.››catalyst events and organisations. Cultural events that attract culturalcommunities, media and visitors to a city, events that require the cooperationand facilitation of public and private institutions.››creative spaces. The existence of creative spaces, such as cultural districts,museum quarters or locations that determine the cultural and creative imageof a city.These criteria for assessing a creative city were formulated 15 years ago – longbefore the creative fever that has spread through <strong>Europe</strong>an cities and infectedplanners and policy makers. Since this paradigm started inspiring cities andplanners, many cities have tried to enhance their creative capital and markettheir real or illusionary location. Experience shows that creative city developmentrequires a few more ingredients for successful creative city policies.They are:››an established cultural image. The cultural image of a city, its culturalinfrastructure and cultural events are an essential factor in attracting thecreative class, as well as media to communicate the image nationally andinternationally.››established clusters of cultural industries. Creative industries requirenetworks and seek clusters for inspiration and benchmarking and for survivingin competitive markets.››institutions of advanced art and media education. The quality and reputationof art and media institutions in a city is an important dimension inattracting talent and in educating the next generation of creative artists andculturpreneurs.››a broad spectrum of innovative high tech milieus. This providesnew technologies and technical competence for creative production andservices.››affordable housing and low costs of living. Young creatives requireaccess to affordable housing and studios in highly accessible and alluringlocations.››a spirit of conviviality. For the creative class, a place to be, a place to beidentified with, a place to find cosmopolitan community and a place toenjoy the quality of life with others are essential location factors.All this makes a city a magnet for creative people, searching for locations wherethey can find inspiration for their work, where they can work and find work,where they can earn their living and where they are able to plug into networksof creativity.Can One Make a Creative City?Given the appeal of the creative city concept, it is not surprising that thediagnosed creative fever across the globe has led academic and professionalplanners alike to explore whether the creative city can be planned (Chapain,et al., 2009). They all come to very cautious conclusions. They tend to agree that20I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality21


a creative city cannot be planned, that no city as a whole is creative or not andthat local policy planning can only work to provide good or better conditions forcreative industries to flourish.Urban development policies can facilitate conditions for developing attractiveand communicative public spaces in a city, creative quarters in a city forresidents and tourists or providing attractive locations for new iconic culturalinfrastructure. Local economic development agencies can contribute by shiftingtheir attention to locally embedded creative industries start-ups and tailoringtheir support instruments to this segment of the local economy, which theyhave neglected or belittled for so long. Cultural managers responsible for culturaldevelopment in a city can point to the need for more local, and above all,sustainable budgets to invest in cultural infrastructure and to support culturalevents and activities. In addition, they can point to economic importance of thelocal cultural capital.All three local policy corridors towards a more creative city are highly interrelatedand require time to mature and show synergies. Obviously, it is unrealisticto believe that visible, longer-term achievements can be accomplished withinone or even two election periods. Conditions and decision-making cultures in acity cannot be changed overnight. Time is a crucial factor in turning a city into amore responsive creative environment. Creativity is deeply rooted in the historyof a city, in the local society living and working and consuming in a city.Cities in <strong>Europe</strong> that take the creativity paradigm seriously, or just aim to bebranded as creative cities, undertake a bundle of measures to promote cultureand creativity in the city, to raise the creative dimension of urban and economicdevelopment. They commission reports and studies to identify the indigenouscreative potential of the city, they explore real and potential creativity, theyinvest in cultural infrastructure and public places, and, in decorating the urbanstage with designer architecture, they promote cultural events. They raise thestatus of art schools and support media-related higher education, they takeinitiative to form creative clusters and networks, they offer affordable space forstudios and rehearsal space, and they promote and develop creative quarters,cultural boulevards or other projects to make creativity visible in the city. Bydoing all that, cities review and qualify their urban policies and local economicdevelopment strategies, stabilise their expenditures for cultural activities tomeet the growing demand for cultural education and entertainment, sensitiseand qualify their administration, and augment the awareness of citizens. In theend, apart from maintaining the quality of life and urban competitiveness, thecreative city paradigm encourages cities to make use of and instrumentalise thecreative city fever by implementing a better, more holistic, more comprehensiveand more strategic form of urban development. For planners it is a challengingbalancing act between serving a mainstream fleeting fashion and a moreserious approach to urban development and creative governance in times ofglobalisation.All over <strong>Europe</strong> and beyond, cities are either adding the well-established creativeimage to their urban marketing profiles or they are exploring ways andmeans to join the list of creative cities. What are they doing to sharpen theircreative profiles?First, benefiting from the generous plug-in feature of the new city developmentparadigm, they communicate the creative dimensions of the place to the mediaand different target groups within or beyond the city. As a rule, cities start thebranding process with commissioning surveys of the creative capital of theplace and publishing creative and/or cultural industries reports, which quantify,assess and document the importance of these sectors for the local economy.Cities define cultural and creative industries based on established categoriesof national statistics or they assign selected branches. With such quantitativeinformation they aim to impress policy makers, investors, developers and themembers of local creative communities. In selling the creative dimension of acity, city managers and policy advisors are well aware that praising the creativityof a place does not mean that the city is really a paradise for artists, creativeentrepreneurs and cultural consumers.A second field of action is the opening up of local economic developmentpolicies to target groups who, in the past, have not profited from the plethoraof well-established instruments and support programmes for local enterprisesand start-ups. In the last decade of the 20th century, innovation has beenthe magic formula for attracting investors and financial support to places. Inthe beginning of the 21st century, the innovation formula, it seems, is beingreplaced more and more by the creativity hype. The fuzziness of the creativeparadigm helps enormously in this. It justifies almost any form of support forindividual firms and enterprises in new technology domains.Third, urban planners, tired of routine land-use control processes and tied up inconflicts about infrastructure development, welcome the creative fever, which22I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality23


Creative Cities: Vision, Enthusiasm and RealityFifth, in the wake of creative city policies, cultural planning benefits from growingpublic interest in the creative branding of a city. Requests for more generousbudgets for cultural infrastructure, for art centres, iconic museums and theatresreceive more political and financial support. Similarly, cultural events targetedto visitors from outside the city are considered to be essential features to attractmedia coverage, culturally minded consumers and mobile creative labour.Sixth, universities of applied and performing arts, music academies, design collegesand fashion schools are experiencing increasing recognition as essentialcradles of creativity. They are no longer considered to be just luxury enclaves ofa fully urbanised society, enjoying music and the arts, beauty, décor and design.Increasingly art-related institutions of higher learning are encouraged to openup to the city and to combine their art ambitions with projects in non-artisticfields. On the other side, established universities introduce more and moreinterdisciplinary programmes in cultural studies and management.Creative action on Federation Square, a public plaza on top of an old railway yard in Melbourne (AU), 2012is paralleled by the recent interest in inner-city development, the euphoricallyproclaimed urban renaissance. It gives them a chance to regenerate inner-citydistricts, develop creative quarters and focus on public spaces and brownfieldsin the city. The interest in the visual and design dimension of urban landscapesgives the architecturally trained planners among them a chance to re-establisha role in urban policies and to promote iconic architecture.Fourth, the coincidence of creative urban development and gentrification processes,eagerly exploited by local media, obviously alarms local politicians andsocially minded planners. With mixed feelings, they observe the gradual transformationof inner-city quarters in less attractive locations by students, artistsand investors searching for new locations. On the one hand, they praise theincreasing attractiveness of these quarters for the creative class. On the otherhand, they know that over time gentrification processes will force less privilegedcitizens as well as students and artists to leave the quarters and discover andoccupy new locations for affordable urban living. And they know that in marketledeconomies hindering gentrification processes is almost impossible. Anyintervention or control is a political tight-rope act.Seventh, acknowledging that local policies to promote the creative city needinstitutional backing, organisational power and the thematic coordination ofestablished sectoral policies, city governments are establishing special units,agencies or bureaus to promote the creative city policies and the local creativeeconomy. Such public or semi-public institutions are then entrusted tocommunicate the creative paradigm to local stakeholders and target groups, tocoordinate or moderate sector policies and to network among the numerouslocal segments of the creative economy.All this is done, with more or less courage and efficiency in cities like Berlin,Hamburg, Leipzig, Cologne or even Dortmund, in Nantes, Bordeaux or Lille, inVienna, of course, and in Copenhagen and Helsinki, in Amsterdam andMaastricht, in Milan and Bologna, in Liverpool and Newcastle upon Tyne, aswell as in many other large and medium-sized cities across <strong>Europe</strong>.Creative Cities: Vision, Enthusiasm and RealityThe creative city is a magnificent vision for the city of the future. It promises anurban world dominated by culture, optimism and beauty, inhabited by citizenswho enjoy a high quality of life and love their work and their city. Creativityalways has a positive association, and when promoting the creative city, allnegative dimensions of urban life and post-industrial work in increasingly24I. Cultural and Creative Regeneration Creative Cities: Vision, Enthusiasm and Reality25


Bibliographypolarising urban societies fade into the background. It is no wonder that manycities, city managers, urban planners and architects, supported by trend media,airline journals and journalists searching for good and easy-to-read stories,praise the creative city or use it as a comfortable plug-in concept for theiractions and writing. Even in academia, the creative city paradigm has becomea profile-raising and rewarding arena for books and academic papers, forlectures, seminars and dissertations, for workshops and conferences, either topraise the concept or to pull it to pieces. The number of books, papers and reportspublished in many countries and languages on the subject is inflationary.Consultancy reports suggesting how to make a city creative have been welcomedocuments for policy advisors. The creative city fever is additionally nurturedby the self-interest of the members of the creative community. They welcomethe unexpected public interest in the creative city paradigm as a chance to earntheir living, maintain their lifestyles and better sell their products and services.The enthusiasm for the creative city is based on individual experiences andperceptions of creative places and actions in a city. Consequently the conceptsdiffer considerably. If asked to plan for the creative city, the construct will reflectthe individual desire.Moving from vision and enthusiasm to reality, however, is hard work, and themore so, if local physical, economic and cultural conditions do not offer manyopportunities to follow the available guidelines and suggestions. The processesrequire passionate, courageous and committed staff in local governmentsand leadership and political support beyond elections periods. The creativecity paradigm fits well with the mainstream urban renaissance and knowledgesociety ambitions, which in the beginning of the 21st century are competitiveconcepts of future-oriented urban development policies. There is much risk(and evidence) that the creative city ambitions are no more than a decorativelabel for city politics, for filling new barrels with old wine.The creative city fever will pass. Cities, city managers and planners will realisethat the creative city paradigm is not a remedy for all urban challenges. Itdoes not solve and does not address all the challenges of city development inmarket-led economies. However, carried out with patience, passion, cooperativespirit and commitment, it is a local survival strategy in times of globalisationand urban competitiveness.Behr, Vera, Friedrich Gnad andKlaus R. Kunzmann, Kulturwirtschaftin der Stadt, DortmunderBeiträge zur Raumplanung, Bd.53, Institut für Raumplanung,Dortmund, 1990.Bianchini, Franco, Mark Fisher,John Montgomery and KenWorpole, City Centres, CityCultures. The Role of the Artsin the Revitalisation of Townsand Cities, Center for Local EconomicDevelopment Strategies,Manchester, 1988.Bianchini, Franco, Ralph Ebert,Fritz Gnad, Klaus R. Kunzmannand Charles Landry, The CreativeCity in Britain and Germany,The Anglo-German Foundationfor the Study of IndustrialSociety, London, 1996.Carta, Maurizio, L’armaturaculturale del territorio. Ilpatrimonio culturale comematrice di identità e strumentodi sviluppo, Franco Angeli/Urbanistica, Rome, 1996.Carta, Maurizio, Creative City.Dynamics, Innovations, Actions,Actar/Birkhäuser, Barcelona,2008.Chapain, Carolyne, ChrisColinge, Peter Lee and SakoMusterd (eds.), ‘Can We Planthe Creative Knowledge City’,Built Environment, Vol. 358,No. 2, 2009.Csikszentmihalyi, Mihaly, Creativity.Flow and the Psychologyof Discovery and Invention,HarperCollins, London, 1996.Deben, Leon, Sako Musterd andJan van Wesep (eds.), ‘Cultureand Urban Regeneration: Some<strong>Europe</strong>an Examples’, Built Environment,Vol. 18, No. 2, 2000.De Bono, Edward, Serious CreativityUsing the Power of LateralThinking to Create New Ideas,HarperCollins, London, 1993.Du Gay, Paul (ed.), Production ofCulture/Cultures of Production,SAGE, London, 1997.Ebert, Ralf and Klaus R.Kunzmann, ‘Kultur, KreativeRäume und Stadtentwicklungin Berlin’, disP: The PlanningReview, 171, 2007, pp. 64–79.Evans, Greame, Cultural Planning:An Urban Renaissance,Routledge, London, 2001.Florida, Richard, The Rise ofthe Creative Class. And How ItIs Transforming Work, Leisure,Community and Everyday Life,Basic Books, New York, 2002.Florida, Richard, Cities and theCreative Class, SAGE, London,2005.Florida, Richard, Who’s YourCity, Basic Books, New York,2008.Heider, Katharina, Klaus R.Kunzmann and Martina Koll-Schretzenmayr, ‘Zürich: Stadtder Kreativen. Was Stadtplanerinnen,Wirtschaftsfördererund Quartiersverantwortlicheüber das Leben und Arbeitender Kreativen in urbanenMilieus wissen sollten oderschon immer wissen wollten’,disP: The Planning Review, 175,2008, pp. 57–72.Heinze, Thomas, Kultur undWirtschaft. Perspektivengemeinsamer Innovation, WestdeutscherVerlag, Opladen,1995.Howkins, John, The CreativeEconomy: How People MakeMoney from Ideas, Penguin,New York, 2001.Kunzmann, Klaus R., ‘Culture,Creativity and Spatial Planning’(Abercrombie Lecture),TownPlanning Review, Vol. 75, No. 4,2004, pp. 383–44.Kunzmann, Klaus R., ‘DieKreative Stadt: Stadtentwicklungzwischen Euphorie undVerdrängung?’, InternationaleBauausstellung (IBA) Hamburg(ed.), Kreativität trifft Stadt– Zum Verhältnis von Kunst,Kultur und Stadtentwicklung imRahmen der IBA Hamburg, Jovis,Berlin, 2010, pp. 202–213.Landry, Charles, The CreativeCity: A Toolkit for Urban Innovators,Earthscan, London, 2000.Landry, Charles, The Art of CityMaking, Earthscan, London,2006.Lange, Bastian, Die Räume derKreativszenen, Culturepreneursund ihre Orte in Berlin,Transcript, Bielefeld, 2007.Lange, Bastian, AresKalandides, Birgit Stöber andInga Wellmann (eds.),Governance der Kreativwirtschaft.Diagnosen undHandlungs optionen, Transcript,Bielefeld, 2009, pp. 33–45.Montgomery, John, The NewWealth of Cities. City Dynamicsand the Fifth Wave, Ashgate,Aldershot, 2007.Myerscough, John, EconomicImportance of the Arts inMerseyside, Policy StudiesInstitute, London, 1988.Ong, Lily and Justin O’Connor(eds.), Creative Economies,Creative Cities. Asian-<strong>Europe</strong>anPerspectives, Springer, Heidelberg,2009.Perloff, Harvey, S. with UrbanInnovations Group, The Arts inthe Economic Life of the City,American Council for the Arts,New York, 1979.Scott, Allan J, The CulturalEconomy of Cities, SAGE, London,2000.Smith, Neil, The New UrbanFrontier: Gentrification andthe Revanchist City, Routledge,London, 1996.UK Department of Culture,Media and Sport, The CreativeIndustries, London, 2000.Ury, John, The Tourist Gaze:Leisure and Travel in ContemporarySocieties, SAGE, London,1990.Vivant, Luisa, Qu’est-ce que laville créative, Collection ‘La villeen débat’, Puf, Paris, 2009.Zukin, Sharon, Loft Living:Culture and Capital in UrbanChange, Radius/Century Hutchinson,London, 1988.26 I. Cultural and Creative RegenerationCreative Cities: Vision, Enthusiasm and Reality27


focus more on the offer of cultural goods (most revenue is generated by sale ofcultural products) that are also enjoyed or consumed in these same spaces.Wall installation by Gerhard Mayer (DE) in the show Parcours. Galerien zu Gast Auf AEG at ‘Offen Auf AEG’, an art event on the site of the former AEG factory inNuremberg (DE), 2011or transformation of the cultural identity of areas in the city. All three stagescan be identified in the US, UK and several other <strong>Europe</strong>an countries, althoughnot always precisely in the same form or at the same time. The first stage(1930–1950) was characterised by physical determinism, focused on the builtenvironment and was less attentive to social/demographic aspects of regeneration.These were stressed to a greater extent in the second stage (1960–1970),which emphasised the importance of revitalisation of neighbourhoods and theanalysis of social problems in the city. The third stage (1970–1980) was characterisedby the entry of economic players and public-private partnerships intothe revitalisation processes of central city areas. In this stage, special attentionwas devoted to spaces of consumption and cultural consumption that haveplayed a central role in the urban regeneration and revitalisation processesfrom the 1970s onward.Urban spaces of cultural consumption differ from ordinary spaces of consumptionprimarily in regard to the products they offer. In a retail outlet, e.g. a shoppingcentre, a consumer exchanges his money for physical goods and derivessome enjoyment from the transaction. In spaces of cultural consumption,on the other hand, money is normally exchanged for non-material products,which however also bring personal satisfaction. Spaces of cultural consumptionshould be distinguished from spaces of (general) consumption, because theyA similar concept linked to spaces of cultural consumption was introduced byBourdieu (1986), who advances the notion of cultural capital. 7 Cultural capitalis a source of wealth that can function as an alternative to economic (financialand industrial) capital. It can be understood to include education, artistic artefactsor entire cities with their accompanying cultural infrastructure (spatial andurbanistic conception of the city, architecture, museums, etc.). Economic capitalcan be derived from cultural capital by means of marketing and promotion. Thisis best exemplified by some cities with rich cultural and historical heritage, suchas Florence, Rome or Venice, where cultural capital is already in use for centuries.Historical spaces of culture, i.e. the objectified cultural capital in thesecities, are a part of the cultural consumption process and have long been a vitalsegment of the municipal economy and lucrative source of revenue. 8Due to the strong role of the historical city centre in creating cultural identityand representing the trademark or brand of a city, planners and policy advisorsin several <strong>Europe</strong>an cities have attempted to combine contemporary consumptionand revitalisation of city centres. Some particularly advanced and economicallydeveloped cities approach the problem of combining regeneration,revitalisation and consumption in the city centre with drastic spatial interventionsthat at the same time try to preserve the cultural composition of the cityand minimise the processes of elite gentrification. 9 Unfortunately, in manycases, during these attempts to renovate the city, it is not completely clearwhich renovation strategy is to be used and what consequences it will have onthe neighbourhood, its social structure and local community. In this sense, it ispossible to speculate that there will be collateral damage in this process, representedby a certain degree of diminishment of the cultural heterogeneity of thelocation. Moreover, in some cases, the unique local characteristics of culturalcapital and heritage and its communities are used by urban managers for gentrificationpurposes. Distinctive features which give character to the neighbourhoodand are embedded in the everyday life of local communities (offers ofservices, practices and structure of the population) are sometimes used as partof an ‘interim development’ strategy i.e. warmly welcomed temporary guests or‘bridging gentrifications’ (Smith, 1996: 105) that with their character and culturalcapital incidentally cultivate the area and make it ‘cool’ and attractive, butwhich, due to their low-income status, are not protected when the value of thereal estate begins to rise. 1032I. Cultural and Creative Regeneration The Importance of Culture in Urban Regeneration Practices33


Bibliography1 Fordism represents amodern type of production thatincludes standardisation, massproduction and worker stability,whilst post-Fordism representsa post-modern flexible modeof production where capital iscirculating and searching forthe best conditions to maximiseprofits (see Harvey, 1989).2 Restoration processesare spatially and sociallybounded, i.e. oriented towardsredevelopment of deprivedneighbourhoods for middle andupper classes, while the sociallydeprived groups simply moveto another area of the city (seeLever, 1993).3 According to Haase andSteinführer (2003), reurbanisationrepresents a process of‘creating high-quality apartmentsand living conditions inthe city by employing new formsof enrichment of the urban life’(sic). They emphasise the role ofvarious age groups, householdtypes, migration patterns andlifestyles, including the culturaland identity-related upgrade ofparticular areas of the city.4 Reanimation in the senseof revitalisation of the centralcity involves the establishmentof social networks betweeninhabi tants, the creation of anew cultural identity and therealisation of major construction(urban renewal) projects that locatethe city centre within globalnetworks or differentiate the cityin its relation to its national andglobal competition.5 Gentrification is in themajority of cases described as aprocess of social-spatial transformationof degraded areaswhere processes of intensiverestoration and renovation ofneighbourhoods have broughtabout the increased departureor displacement of lower socialgroups of the population (workingclass) and an influx of middleand upper classes of the populationtaking their place, as theyare able to afford the increasingcost of living in these areas(see Smith, 1996; Hamnett, 1984;Downs, 1981).6 While tangible (material)heritage is made up of individualbuildings, groups of buildings,areas, objects and collections ofobjects, intangible (non-material)heritage comprises knowledge,skills, customs, beliefs andvalues as recognised and realisedby people and connected withcreation, use, understandingand transmission to current andfuture generations (see IPCH,2011).7 Bourdieu (1986) lists thefollowing three states of culturalcapital: 1) embodied (or material)state (style of presentation,mode of speech, beauty, etc.);2) objectified state (culturalgoods – paintings, books, machines,buildings, etc.); 3) institutionalisedstate (education,qualifications).8 For example, the cities thatwere part of the standard itineraryof ‘the grand tour’, i.e. includedin the traditional trip through<strong>Europe</strong> undertaken by young,upper-class men and women inthe period from 1660 to 1840(see Thompson, 1991).9 For example, Featherstone(1991, 1998: 189–206) describesthe processes of ‘deindustrialisationof city centres and portdocks that are gentrified by themiddle-class population, anddeveloped into spaces of tourismand cultural consumption’.10 Local cultures or subculturesare one of the decisivefactors in the first phase ofgentrification of deterioratedand abandoned areas. In the nextphases, subcultures were/aredue to their ‘marginality’ oftenpushed out of the neighbourhoodas developers try to realisethe potential for economicexploitation of the area. In thissense, subcultures have the roleof bridging gentrifier that temporarilyoccupies or ‘reserves’ thearea until the political authoritiesor economic interest groupsdefine the function of the area.Subcultures are used by ‘urbanmanagers’ (Pahl, 1977) as part ofthe strategy of ‘interim development’,i.e. warmly welcomedtemporary guests (non-statuarytenants).11 The often-used term ‘citylife’ does not indicate onlysomeone’s residential locationin a densely populated urbanenvironment and connection toa specific form of employment.More importantly, it presupposesa specific lifestyle, the so-called‘urbanity’ or ‘urbanism as a wayof life’, presented as an activeengagement in city activities,spontaneous street vitality anddescribed by Wirth (1938) asthe widening of social and behaviouralcharacteristics of theurban life of an individual.Bairoch, Paul, Cities and economicdevelopment, Universityof Chicago Press, Chicago, 1988.Bianchini, Franco, ‘Culturalplanning for urban sustainability’,City and culture: Culturalprocesses and urban sustainability,Louise Nyström andColin Fudge (eds.), The SwedishUrban Environment Council,Kalmar, 1999, pp. 34–51.Bourdieu, Pierre, ‘The Formsof Capital’, Handbook of Theoryand Research for the Sociologyof Education, John Richardson(ed.), Greenwood Press, NewYork, 1986, pp. 241–258.Carmon, Naomi, ‘Threegenerations of urban renewalpolicies: analysis and policyimplications’, Geoforum 30,Elsevier, Pergamon, London,1999, pp. 145–158.Castells, Manuel, The InformationalCity: InformationTechnology, Economic Restructuring,and the Urban RegionalProcess, Blackwell, Oxford, UK;Cambridge, MA, 1989.Downs, Anthony, Neighborhoodsand Urban Development,Brookings Institution,Washington, D.C., 1981.Featherstone, Mike, ‘Mestnekulture in postmoderniživljenjski stili’, Časopis zakritiko znanosti, Vol. 26,No. 189, 1991; 1998,Študentska založba, Ljubljana,pp. 189–206.Florida, Richard, The Rise ofthe Creative Class, Basic Books,New York, 2002.Florida, Richard, Cities and theCreative Class, Routledge, NewYork; Abingdon, 2005.Haase, Annegret and AnnettSteinführer, ‘Understanding,Hypotheses and Key Indicatorsof Reurbanisation with Referenceto Demographic Change’.UFZ Centre for EnvironmentalResearch, Leipzig; Dept. ofEconomics, Sociology and Law,Leipzig-Halle, Project ‘Re UrbanMobil’, 2003.Hamnett, Chris, ‘Gentrificationand Residential LocationTheory: A Review and Assessment’,Geography and theUrban Environment, DavidHerbert and Ronald Johnson(eds.), Wiley, Chichester, 1984,pp. 283–330.Harvey, David, The Condition ofPostmodernity – An Enquiry intothe Origins of Cultural Change,Blackwell, Oxford, 1989.Hesmondhalgh, David,The Cultural Industries, SAGE,London, 2002.Howkins, John, The CreativeEconomy: How People MakeMoney From Ideas, Penguin,Allen Lane, 2001.IPCH – Institute for the Protectionof Cultural Heritage ofSlovenia, ‘What is culturalheritage?’, accessed: 12.5.2011,http://www.zvkds.si/en/varstvo-kulturne-dediscine/o-kulturni-dediscini/kaj-je-kulturna-dediscina/, 2011.Jacobs, Jane, The Death and Lifeof Great American Cities, PenguinBooks Ltd, St. Ives, 1994.Kletzander, Andreas, UrbaneRegeneration in Nordengland.Die Erneuerung altindustrialisierterStadträume im Kontextneokonservativer Politik, UniversitätAugsburg, Augsburg,1995.Landry, Charles and FrancoBianchini, The Creative City,Demos, London, 1995.Landry, Charles, The CreativeCity, Earthscan Publications,London, 2000.Lash, Scott and John Urry,Economies of Sign and Space,SAGE, London, 1994.Lever, William, ‘Reurbanisation– The Policy Implications’,Urban Studies, Vol. 30, No. 2,1993, SAGE Publications,London; Thousand Oaks,pp. 267–284.Pahl, Ray, ‘Managers, technicalexperts and the state’, CaptiveCities: Studies in the PoliticalEconomy of Cities and Regions,Michael Harloe (ed.), Wiley,London; New York, 1977,pp. 49–60.Sassen, Saskia, Cities in a WorldEconomy, Pine Forge Press,Thousand Oaks, 1994.Scott, Allen, The CulturalEconomy of Cities, SAGE,London, 2000.Smith, Neil, The New UrbanFrontier: Gentrification andthe Revanchist City, Routledge,London; New York, 1996.Thompson, Edvard Palmer,Making of the English WorkingClass, Vintage Books, New York,1991.Thornton, Sarah, ‘The sociallogic of subcultural capital’,The Subcultures Reader, KenGelder and Sarah Thornton(eds.), Routledge, London;New York, 1997.UNESCO, UNESCO’s Decade ofEducation for Sustainable Development(2005–2014), Paris:Division for the Promotion ofQuality Education, UNESCO,2010.United Cities and Local Governments(UCLG), Agenda 21 forculture. Barcelona: Committeeon culture – United Cities andLocal Governments, 2004,2008.Uršič, Matjaž, Urbani prostoripotrošnje [Urban Spaces ofConsumption], Fakulteta zadružbene vede, Ljubljana,2003.Wirth, Louis, ‘Urbanism as aWay of Life’, The City Reader,Second Edition. Richard LeGates and Frederic Stout (eds.),Routledge, New York; London,1938, 2000, pp. 97–105.36I. Cultural and Creative Regeneration The Importance of Culture in Urban Regeneration Practices37


II. ProjectSecondChance3839


HALLE 14 | Leipzigproduction hall at formerLeipzig Cotton Spinning Mill› HALLE 14 - non-profit art centreProject StructureProject partners:Aufbauwerk Region Leipzig GmbH, HALLE 14 e. V.secondchanceFrom Industrial Use to Creative ImpulseDepot | Krakowformer tram depot› Museum of Municipal Engineering and cultural centreProject partners:City of Krakow, Museum of Municipal EngineeringAuf AEG | Nurembergbuildings 3 and 14 at former AEG factory› Kulturwerkstatt cultural centreMethods and tasks of the projectProject partners:City of Nuremberg,MIB – Fünfte Investitionsgesellschaft mbHArsenale | VeniceTorre di Porta Nuova at Venice Arsenale› research and exhibition centreProject partners:City of Venice, Arsenale di Venezia SpaRog | Ljubljanaformer Rog factory› Rog - Centre of Contemporary ArtsProject partners:City of Ljubljana,Museum and Galleries of Ljubljanawww.secondchanceproject.euJan 2010 – Jun 2012SWOT-AnalysesStakeholder WorkshopsDevelopment VisionsUtilisation ConceptsPilot ProjectsTransnational PPP ConceptSite-Specific PPP ConceptsJul 2012 – Sep 2013Peer Review VisitsTransnational Marketing StudyMoving ExhibitionCultural ExchangeManagement Plans4041


In the SECOND CHANCE project, ten partners jointlyfoster the regeneration of five brownfield sites inmajor <strong>Central</strong> <strong>Europe</strong>an cities through the integrationand promotion of cultural activities. Theproject gives the former AEG factory in Nuremberg(DE), HALLE 14 of the former Cotton Spinning Millin Leipzig (DE), the former Rog factory in Ljubljana(SI), the Porta Nuova tower on the site of theArsenale in Venice (IT) and the former tram depotin the St. Lawrence district in Krakow (PL) a “secondchance”.SECOND CHANCE is implemented through theCENTRAL EUROPE Programme, co-financed bythe <strong>Europe</strong>an Regional Development Fund (ERDF).CENTRAL EUROPE is a <strong>Europe</strong>an Union programmethat encourages transnational cooperation withthe aim of improving innovation, accessibility andthe environment and enhancing the competitivenessand attractiveness of the cities and regions in<strong>Central</strong> <strong>Europe</strong>an countries. The German Ministryof Transport, Building and Urban Development(BMVBS) co-finances the project on a national level.In SECOND CHANCE, different approaches to therevitalisation of former industrial complexes witharts and culture are discussed and implemented.Public authorities and the operators and ownersof the sites are jointly developing concepts andstrategies for such conversions. Besides the reuseof these historically important buildings, a commonobjective is to increase the attractiveness andIntroductioncompetitiveness of the surrounding urban districtsby transforming the shut-down factory sites intolively cultural centres.For the process of developing and implementinglong-term utilisation and financial concepts forthe participating sites, several obligatory methodsand tools were included in the design of thisthree-and-a-half-year transnational cooperationproject. This structure aimed to create a frameworkin which the five development processes couldbe compared. This was especially necessary sincethe five sites are at very different stages in theirdevelopment – some sites started their revitalisationwith the beginning of the project while otherswere awaiting the next step in redevelopment aftera previous period of cultural activities. Differinglegal and administrative situations in the countriesinvolved have made it difficult for some partnersto fulfil these tasks, and while some countries havea history of regenerating brownfield sites, in othercountries the work of SECOND CHANCE ispioneering.The starting point of the project work was a<strong>Europe</strong>-wide analysis of positive examples (“bestpractices”). This helped the project partners identifynew forms of utilisation of former industrialsites, learn from similar settings and determinetransferable solutions. A SWOT analysis was conductedfor each city and site, identifying strengths,weaknesses, opportunities and threats for therevitalisation. The analyses’ relevance for the workon the regeneration concepts varied tremendously.Some partners faced basic difficulties concerningusable data, or found the results to be too generalor to have a less useful focus than expected. Forother partners, the SWOT analysis was a helpfulfirst step towards the development of their sites.Stakeholder workshops with various targetgroups followed. Ideas and issues central to therevitalisation activities were communicated to anddiscussed with local authorities, potential partners,citizens and neighbours, and with individuals andinstitutions from the field of art and culture – toname just a few. These workshops helped to includethe public, learn from their expectations, andbecome aware of possible objections. The resultswere documented and formed a crucial input forthe development vision, another key method andtask for all project partners.The development vision provided a general sketchof what owners and operators expected from revitalisingtheir former industrial sites. It identifiedhopes, ideas and first solutions, as well as potentialobstacles and problems. To translate the visioninto a realistic concept, a utilisation conceptwas commissioned and written for each complex.The work on this concept was a crucial step for allpartners, since it defined the whole revitalisationprocess and described in detail the pilot investmentas a part of the project.SECOND CHANCE allows for a pilot project in eachparticipating city. Within the development of eachformer industrial site, a pilot investment was identifiedto test the use of the site and building for theplanned cultural activities.The development of public-private partnerships(PPP) for the sustainable financing and managementof the sites is a crucial element of SECONDCHANCE. Partnership models will be tested inconnection with the pilot projects. As a first steptowards this innovative approach, a transnationalPPP concept was commissioned, describing thedifferent models possible in arts and culture andcomparing different national settings for publicprivatepartnerships. Katrin Fischer gives a summaryof this concept in chapter ’III. Research onPublic-Private Partnerships‘. The development ofsite-specific PPP concepts marks the second step.These are still in-progress at the time of publishingthis brochure. The implementation of PPP modelsis a major goal of SECOND CHANCE. Comprehensivemarketing strategies and tools are planned to attractpartners and sponsors for PPP contracts. Othermajor goals are detailed management plans forall sites and a lively cultural exchange between thecultural centres. Thus, through SECOND CHANCEthe project partners plan to develop transferablesolutions and financing instruments for new usesof urban brownfield sites.Throughout the SECOND CHANCE project, periodicmeetings bring together all participating partners.Most of these have been used to organise publicconferences and symposia. External experts wereinvited to present and discuss issues relevantto the project. They imparted their experienceand know-how to the project partners and localstakeholders. At the same time, these public eventsintroduced SECOND CHANCE and its outcomesto a wider public. Summaries of all public SECONDCHANCE conferences are included in chapter’IV. International Conferences in the Project‘.4243


NurembergPages 38/39: Women working on the production of AEG refrigerators inNurembergPage 44: Dismantled factory logo at the former AEG site, eponym for thearea ‘Auf AEG’Culture-led Revitalisation for the Benefitof the City and the Region as a WholeHistory and Current SituationThe Nuremberg AEG factory was founded in 1922and produced household appliances like washingmachines and refrigerators. By 1970 AEG-Telefunkenwas the 12th largest electronics company inthe world, with factories in many countries. In1994 the Electrolux group took over the householdappliances sector and the factory in Nuremberg.Less than ten years later, they announcedthe closure of the long-standing AEG factory inNuremberg and shifted production to other <strong>Europe</strong>ancountries. The last AEG washing machinefrom the Nuremberg factory was produced inMarch 2007, and the factory was closed shortlythereafter. With the site’s closing, an almost 16 haestate in direct proximity to the city centre layidle, joining a second industrial brownfield on theFürther Straße, the 5 ha Triumph-Adler grounds.In 2009, with the bankruptcy of Quelle, a furtherindustrial estate with almost 11 ha of space inEberhardshof, the district opposite, joined the listof derelict industrial sites. This was a huge problemfor the City of Nuremberg, as these closuresled to skyrocketing unemployment rates in thesurrounding districts.The AEG-Electrolux property was bought in June2007 by MIB Fünfte Investitionsgesellschaft mbH.The investment company is a subsidiary of MIBAG and has the task of developing and operatingthe AEG complex in Nuremberg.The site comprises a total of 168,000 m² and islocated in the western part of Nuremberg, wellconnectedto multiple means of transportation.The south AEG complex is a homogeneous ensembleof buildings with the character of a majorcommercial production site. Partial demolition ofindoor manufacturing spaces has created courtyardsand parking areas to open up the grounds.In addition to the headquarters of Germany-Electrolux AG and Siemens PTD, other companieshave moved in during the revitalisation process.The north end of the AEG complex encloses a1930s residential development with a potentialarea of 70,000 m². It is especially interesting that,in this part of the complex, many rooms are beingrented out as artists’ studios. 78 artists – painters,photographers, installation artists and sculptors –currently work there. The single-storey productionhalls are rented to craft firms and service companies.The northern area is dominated by the formerLogistics Hall of AEG. In total, over half of theavailable space in the entire complex is now againin use. Altogether roughly 80,000 m² are rented,part of which will be dedicated to the field of artand culture.The City of Nuremberg recently bought building 3from the site’s owner, MIB Fünfte InvestitionsgesellschaftmbH, and is planning to renovate the4,400 m² of useable space to develop it into theKulturwerkstatt, a multifunctional cultural centre,located in the ‘Quartier Vier’. The Kulturwerkstattwill house the Akademie für Schultheater undTheaterpädagogik (academy for theatre at schoolsand theatre pedagogy), the long awaited headquartersof the Musikschule Nürnberg (musicschool), the KinderKunstRaum (a children’s artorganisation which may develop into an art schoolfor kids and teenagers), the Centro Español (theoldest migrant association in Nuremberg) and theKulturbüro Muggenhof (city cultural office for thedistrict). Furthermore, it will collaborate closelywith Zentrifuge, which offers all the necessities ofa centre for culture and cultural education. TheKulturwerkstatt guarantees that culture will be acrucial component of the future of the AEG siteand will have an identity-establishing impact on4445


With the economic growth of West Germany in the 1950s, the production of household appliances at the AEG factory grew significantly.Huge potential: the AEG complex with 168,000 m² of spaceexperimentation are not dictated primarily byeconomic concerns.At the same time, the intent is to build a professionalstructure for promoting economicallyrelevant activities in the cultural and creativeindustries – such as a creative entrepreneurshipcentre – and to promote usage of the area bypublishing firms, IT companies, fashion designersand advertising and graphic design firms.Auf AEG in 2020:››Business related to the field of art and designhas become established at a high-qualitylevel at Auf AEG. In the buildings on the site,approximately 4,500 m² have already beenoccupied by nationally and internationallyrespected art galleries and agencies, providingthe art and culture scene in the whole regionwith new connections to the market and at thesame time improving the image of the city.the district. Ideally, the institution will also gaincity-wide relevance.Developing the ConceptThe results of the SWOT analysis for the Auf AEGsite and the planned cultural centre can be summarisedas follows:The City of Nuremberg has neither strongly pronouncedstrengths nor weaknesses in the field ofcultural and creative industries as reflected quantitativelyin the employment figures of the respectivesubsectors. Lines of business considered artandculture-related, such as the design industry inparticular, are available to an extent; however, theydo not display a clearly tangible, accentuated or‘marketable’ profile. There is, nevertheless, potentialin the area due to the proximity of numerouslarge companies as potential principles/customers.In the more narrowly-defined spectrum of the artand cultural industry, there is a high potential inthe field of visual arts. However, weaknesses wereidentified in that a clearly recognisable profileis missing, as well as a poorly developed market(buyers, gallery owners, etc.).Looking at the former AEG complex itself, thestrength obviously lies in the location of thegrounds. It can be easily reached by public andprivate transport from both Nuremburg and Fürthand provides room for many possible uses,offering options like temporary artists’ studiosor exhibition spaces. Zentrifuge in particular hasproven itself to be an innovative spacefor the creative industries to explore new waysof working and as a contact point for manydifferent groups and interests. It offers space forexhibitions, discussions and events. Anopportunity exists in maintaining and fosteringthis quality. In this context, it is importantthat civic commitment as well as public andprivate funding guarantee that such rooms forBased on the SWOT analysis, the following startingpoints for developing sustainable forms of usage inthe field of art and culture for the further developmentof the Auf AEG site have emerged:1. strengthen the existing structures in the areain the field of visual arts with activities in theperforming arts and socio-cultural offerings;2. develop professional support and promotionfor the location from sectors within the creativeindustry.Cooperation between artists, private companies,Zentrifuge, the municipal Kulturwerkstatt andthe stakeholders already present will bring aboutimportant synergies for the Auf AEG site.The City of Nuremberg, as represented by its culturaldepartment, and MIB have created a commondevelopment vision for the site by asking themselves:What will the Auf AEG site look like in 2020?››Art, culture and crafts play an important rolein Auf AEG. Over 150 artists from the fields ofvisual and performing arts, the Kulturwerkstatt,Zentrifuge as experimental exhibitionspace, communication and event room, theComedy Lounge at Meister Robrock and thecultural association Winterstein offer diverse,high-quality programmes that, particularly inconnection with the companies present at AufAEG, provide an immense potential for creativity,communication and business relations.The annual open house and artists’ exhibition(‘Offen Auf AEG’) now has national and internationalrelevance.››Within this cosmos, the Kulturwerkstatt is anestablished cultural and socio-cultural institution.Various stakeholders offer a continuousprogramme of events, courses and projects.The Kulturwerkstatt has become an enginefor the whole neighbourhood and the city ofNuremberg.46II. Project Second ChanceNuremberg | Culture-led Revitalisation for the Benefit of the City and the Region as a Whole47


Cultural exchange among the project partners: the exhibition Changes byHALLE 14 from Leipzig presented at ‘Offen Auf AEG’, 2011››In collaboration with the Akademie fürSchultheater und Theaterpädagogik severaltheatre groups have rented rehearsal rooms atAuf AEG. The result of their work is presentedevery year at an international theatre festival inNuremberg.››The cultural and creative industries get specialattention at Auf AEG. With the developmentof building 14 as a place for companies in thecultural and creative industries, and with theestablishment of Zentrifuge as a focal point inthe metropolitan area, the creative potential ofthe region has been enhanced and inspired byAuf AEG.››An exemplary practice of <strong>Europe</strong>an integrationexists at Auf AEG through the regularexchange of artists and an international artistin residency programme. The Second Chanceproject initiated the Kulturwerkstatt and theseexchanges. The AEG community of culturalinstitutions, artists and galleries has initiatedother <strong>Europe</strong>an projects from which the cityand the region benefit visibly. Auf AEG in Nurembergis seen throughout <strong>Europe</strong> as a bestpractice for the culture-led revitalisation of aformer industrial site.The SWOT analysis as well as the development visionand the results of the stakeholder workshop‘Creative Impulses at Auf AEG’ have shown that thefollowing points are vital for the positive developmentof the former AEG site and the western partof Nuremberg. Thus they are the central issues inthe utilisation concept for Auf AEG:››establishing socio-cultural offerings at Auf AEGin cooperation with the local artists,››connecting with the already existing socioculturalinstitutions in the quarter,››creating opportunities and activities at the sitefor local residents,››encouraging the establishment of businessesand start-ups from the creative industries,››utilising the range of skills and specialitiesexisting at Auf AEG through, for example, collaborativeprojects.The newly planned cultural institution Kulturwerkstattis of great importance concerning theimplementation of these goals.Julius Popp (DE), MICRO.PERPENDICULARS, 2008–2010, work in progress, part of the show Parcours. Galerien zu Gast Auf AEG at ‘Offen Auf AEG’, 2011Implementing the ConceptAs pilot project within SECOND CHANCE, a firstphase of the Kulturwerkstatt starts in building 14,since the future space in building 3 is not yet readyfor use. A part of the ground-level hall in building14 is being developed into a multifunctional halland will serve as the location for various institutionsand programmes. The cultural exchangewith the project partners of SECOND CHANCE willalso take place in this space. During the first halfof 2012, the hall has been equipped with electricwiring, a stage and seating, stage lighting, soundsystem and ventilation.After the completion of these improvements, theKulturwerkstatt begins its work. All activities andcooperations that are essential to the concept ofthe Kulturwerkstatt will start with this pilot project,named ’Werkstatt 141‘.The multifunctional hall will offer rehearsal andperformance spaces to the Musikschule Nuremberg,the KinderKunstRaum, the Centro Españoland the Akademie für Schultheater undTheaterpädagogik. Spaces and rooms will beavailable for non-public events such as rehearsalsand private meetings; however, the hall canbe opened up for public events such as music,theatre and film performances and shows aswell.A multifaceted programme of cultural andsocio-cultural courses, workshops, projects andservices will be offered to the citizens in thedistricts surrounding the AEG site and citizensfrom Nuremberg in general by the institutionsinvolved and additional stakeholders. In combinationwith the public events, this programmewill help to enliven the former industrial site.Close partners with the Cultural Department ofthe City of Nuremberg is Zentrifuge, also locatedwithin building 14. Zentrifuge offers a range ofprogrammes and events related to cultural andcreative industries. Various points of contact48II. Project Second ChanceNuremberg | Culture-led Revitalisation for the Benefit of the City and the Region as a Whole49


Using the former conveyor belt bridge as a projection screen: Tea Mäkipää (FI), Cat Walk, 2006, during ‘Offen Auf AEG’, 2011Over 70 artists who work on the AEG site exhibited together at ‘Offen Auf AEG’ in 2011; shown here are works by Julia Frischmann, Anna Handick and Changmin Lee.between the Kulturwerkstatt and Zentrifuge willenhance the variety of activities.The Kulturwerkstatt will encourage all institutionsinvolved to collaborate with national and internationalpartners and to initiate exchanges withlike-minded cultural stakeholders, e. g. exchangeamong theatre groups and experts in theatrepedagogy at the regional, national or <strong>Europe</strong>anlevel. The hall and the entire site provide an idealcontext for international conferences and festivals.The international visibility and recognition of therevitalisation activities in Nuremberg will be a positiveside effect.The transnational cooperation between theSECOND CHANCE project partners will also benefitfrom this setting, since the cultural exchange activitiesbetween the cities participating in the projectwill take place in the Kulturwerkstatt, as well asadditional spaces on the premises. The exchangeof artists coming to AEG for a residency, exhibitionspresented at the open house once a year and ideasfor further collaboration can develop within thisdiverse and promising cosmos.The site-specific PPP concept for the culturalactivities at Kulturwerkstatt will be tested in theSECOND CHANCE pilot investment. It is based onthree pillars:Structure: An agreement between the privateinvestor MIB and the City of Nuremberg will bemade regarding how to best work together in therenovation and development of building 3, thefuture home of the Kulturwerkstatt. This collaborationis already being tested in building 14, the pilotproject space of the SECOND CHANCE project.Content: An agreement between Zentrifuge andthe City of Nuremberg has already been set up. Thecity will collaborate with Zentrifuge to explore newactivities for the project space in building 14, witha focus on cultural and creative industries. Duringthis process both organisations will collaboratewith the artists already present at the AEG site.Logistics: Cooperations between the city and thecompanies present at the site to provide logisticservices for the Kulturwerkstatt will be explored inthe context of the SECOND CHANCE pilot investment.Agreements for catering, public relations,technical infrastructure, sponsorships, etc. couldbe made as forms of property management andgeneral management PPPs.The Auf AEG site represents a post-industrial transformationthat offers ample space for artistic andcreative development. The arts-sensitive approachof MIB Fünfte Investitionsgesellschaft mbH createsconsiderable positive effects for Nuremberg andthe region as a whole. Today nearly 100 visualartists, Zentrifuge, Werkstatt 141 and the creativeclusters in building 14 make Auf AEG a livelyplace for art and creativity that is well-known andconsidered exemplary beyond professional culturalcircles or the city of Nuremberg. Companieslike Siemens, research projects like the E|Drive-Center (Bavarian Centre for Electric Drive Technology)or the Energie Campus coming in 2013 alsobring the highest levels of business, researchand development to the site. Exciting synergiesbetween research, business, art and creativity areto be expected at Auf AEG in the coming years.The SECOND CHANCE project provides a farreachingand lasting impetus for this as well asinternational attention and reflexion, lending anappropriate significance to this forward-lookingprocess.www.aufaeg.dewww.kuf-kultur.de50II. Project Second ChanceNuremberg | Culture-led Revitalisation for the Benefit of the City and the Region as a Whole51


Page 52: Five storeys with 4.000 m² each: the art centre HALLE 14, 2011Leipzigapproximately 10 ha of land. The site is situatedin Neu-Lindenau, in the southwest of Leipzig, veryclose to the districts of Plagwitz and Lindenau,neighbourhoods that were once home to the factoryworkers.The Spinnerei, as it is called today, was builtbetween 1884 and 1907 after its founding by ajoint-stock company determined to compete inthe <strong>Europe</strong>an cotton market. Within a few years, itgrew to be the largest spinning mill in continental<strong>Europe</strong> and eventually employed up to 4,000 workers.Cotton spinning continued until 1993, whenseveral production buildings were shut down andmost employees were let go. The last productionline – cord for car tires – finally ceased operationin 2000.Between the Luxury of Emptiness and theBurden of 20,000 m² of Non-Profit Space:The Art Centre HALLE 14History and Current SituationFounded in 2002, the art centre HALLE 14 ishoused in a huge, five-storey, 20,000 m² productionbuilding on the grounds of the LeipzigBaumwollspinnerei (Cotton Spinning Mill). Thisformer industrial site consists of 20 buildings onBeginning in 1993, during the step-by-step processof closing production halls and buildings and sellingoff the machinery, the Spinnerei administrationopened up the empty halls and rooms to alternativeusers. A summer academy was opened, thefirst artists set up studios, and architecture firms,workshops and exhibition spaces gradually movedin. This marked the beginning of the internationallyrecognised art cosmos that the Spinnerei is today,and it laid the groundwork for the idea of turningHALLE 14 into a non-profit art centre.The present owner of the Spinnerei, a shareholdercompany called Leipziger BaumwollspinnereiVerwaltungsgesellschaft mbH, bought the entiresite in July 2001. At that time, 6,000 m² outof 90,000 m² of usable space was being usedby about 30 artists, craftspeople, engineers, aCompeting on the <strong>Europe</strong>an market with cotton produced at the LeipzigBaumwollspinnerei5253


Structuring large spaces through a room within a room: HALLE 14's exhibition cube during the exhibition Changes, 2011 Enough space for art: Peter Santino, Apology, 1995–2009, in the exhibition Art of Failure – Failure of Art, 2009bicycle workshop, the art space B/2 and others.This unique milieu convinced the new ownersthat buying the site had been the right decision,and it defined their vision and strategy for furtherdevelopment: keep what’s already there and usethis to develop the Spinnerei into a special placefor art, culture and creativity. Today, there are over100 artist studios at the Spinnerei, 10 galleries,numerous workshops and the offices of printers,architects, urban planners, fashion and graphicdesigners, etc., as well as several non-profit initiativesand institutions. Today, the neighbourhoodsbetween the Leipzig city centre and the Spinnereihave become lively places with many creative andcultural initiatives and a new influx of residents.Turning the largest production building, hallnumber 14, into a centre for contemporary artwas one of the first initiatives in the non-profitsector at the Spinnerei. The Federkiel Foundation,a private foundation for contemporary arts andculture founded by art enthusiast Karsten Schmitz– also a Spinnerei shareholder – dared to take thisenormous step.However, the Federkiel Foundation did not takethis step alone. International architects, urbanplanners, artists, sociologists, curators and otherintellectuals were invited to be part of this processthrough the symposium ‘How Architecture CanThink Socially’, held in Leipzig in December 2002.Possibilities for arts and culture in former industrialbuildings in general and at the Spinnerei inparticular were discussed, building on the visionsof the new owners and users of the space. Bestpractices as well as failures from Germany andother countries were presented and evaluated. Therole of art institutions in such buildings and similarsurroundings as well as their opportunities andchallenges were debated. The symosium is documentedin ‘How Architecture Can Think Socially’(Nuremberg, 2004).The results of the symposium served as the basisfor a ten-year plan set up by the Federkiel Foundationin 2002. Most of these results are still relevantand helpful today; however, the last nine years ofpractical work in HALLE 14 have shown that therevitalisation of an industrial building through artsand culture needs much more than good ideas andgrand visions. The opportunity to participate in theSECOND CHANCE project, which enables transnationalexchange and cooperation with <strong>Europe</strong>anpartners with similar developments and experiencesand with comparable questions and problems,was a logical, reasonable and valuable next step.Until 2006, the enormous production building withits thousands of square meters of empty space, its‘luxury of emptiness‘, was used in its original state– rough, cold and humid. For the exhibitions of theFederkiel Foundation from 2003 to 2006, curatorFrank Motz and a small group of freelancers andinterns worked with the existing character, size andcondition of the spaces. They organised five large,widely recognised exhibitions of internationalcontemporary art and demonstrated their professionalapproach. It was not until 2007 that the firstarchitectural vision was implemented. The visitorcentre was the first area to be developed, and itmarked the beginning of the process-oriented,step-by-step work on the building. The restorationof the 4,000 m² roof, the renovation of thefaçade and the construction of various project andexhibition spaces were the main building activitiesbetween 2008 and 2011. All works were realisedby Kim Wortelkamp and Hauke Herberg from theLeipzig architecture firm quartier vier.The restoration work continued intermittently, andwhile the building changed gradually, the culturalwork of HALLE 14 continued to grow and develop.As an independent art centre, HALLE 14 is a placefor the presentation of contemporary art as well asa space for reflection and communication. It serves54II. Project Second ChanceLeipzig | Between the Luxury of Emptiness and the Burden of 20,000 m² of Non-Profit Space55


Workshop for the art education programme ‘Kreative Spinner’, 2010 The art library at HALLE 14 invites artists, curators, students and visitors to explore and study, 2010the public interest in its artistic commitment. Thisgoal is accomplished through various programmesand HALLE 14’s partner concept.HALLE 14’s core work is the series of internationalgroup exhibitions of contemporary art in the2,400 m 2 exhibition space on the ground floor.Since 2003, one to three exhibitions per year havetaken place, presenting societal perspectives (e.g.,The Culture of Fear, 2006), challenging exhibitiontraditions and viewing habits (e.g., Failed Art – TheArt of Failure, 2009) or focusing on underrepresentedartistic regions (e.g., Pause the Pulse: Portrait ofAccra, 2010). The exhibition themes are selected bycurator Frank Motz, who has been working with theart centre since the very beginning in 2002.The art education programme ‘Kreative Spinner’provides access to art for children and youngadults at this unique space for contemporary artsand culture, the Spinnerei. Participants experienceart firsthand at its production and presentationsite. In workshops and through hands-on projects,they learn about selected exhibitions and the workof artists, as well as their working processes andtechniques.HALLE 14’s art library offers an up-to-date overviewof international contemporary art literature.Its current inventory of 30,000 books serves as areference library for discovery and research for visitors,art experts, students and artists. The library isalso an additional platform for artistic work.Starting in 2010 with the Lounge14 series of talksand discussions, HALLE 14 regularly embarks ondiscursive excursions into contemporary questionsin art and society. Artists, curators and academicsare invited to reflect on cultural topics andaesthetic issues. Furthermore, an accompanyingpublic programme of lectures by experts and presentationsby artists enriches the exhibitions.HALLE 14 has been publishing its own newspaper,vierzehn (fourteen), since 2002. Detailed informationabout projects, exhibitions, artists and currentdevelopments is presented in text and images.Since 2009 (issue 6), vierzehn has been modelledon the format of the former Spinnerei companynewspaper, Der Weiße Faden (The White Thread).Alongside the exhibitions, art education, libraryand Lounge14 series, the international fellowshipprogramme Studio14 is the fifth core project ofHALLE 14. For more than five years, the setup ofthe programme was planned and discussed, butthere were no studios or individual work spaces inthe building. However, the pilot investment of theSECOND CHANCE project made the establishmentof Studio14 possible.Despite the great variety of activities and publicevents organised by HALLE 14, it was understoodfrom the very beginning of the development thatall 20,000 m² could not be used by one association.The enormous size of the building can alsobe seen as burden; however, all involved tend tovalue the space’s potential and luxurious emptiness.Nevertheless, HALLE 14 has found it necessaryand useful to cooperate and share spaceswith other institutions and projects. This fits wellwith HALLE 14’s mission to promote indepen dentartistic and intellectual exchange. Since 2006,project and exhibition spaces have been providedto partners from the non-profit art world (associations,foundations and academies, as well as artistsand cultural professionals with innovative ideas).Acquiring long-term exhibition and studio partnersis the primary goal.Developing the ConceptThe SWOT analysis for HALLE 14 showed that theart centre has accomplished much in terms of56II. Project Second ChanceLeipzig | Between the Luxury of Emptiness and the Burden of 20,000 m² of Non-Profit Space57


creating high-quality cultural activities, securingfunding, implementing renovation efforts and garneringpublic attention. The analysis also showedthat HALLE 14 lacks a clear and strong publicimage: some programmes are better known thanothers, and the overall concept of the institution isnot easily understood by outside observers. Refiningthe profile and improving its communication tothe public was recommended, as well as broadeningthe institution’s network. In terms of the SWOTanalysis, one of HALLE 14’s biggest threats is itsdependency on individual private supporters likethe Federkiel Foundation, which funded most ofthe activities from 2002 to 2010.In contrast to most of the other sites in theSECOND CHANCE project, HALLE 14 already has ahistory of revitalisation through arts and culture.The challenge is different yet similar: HALLE 14needs to learn to stand on its own feet. A sustainablefinancial and management structure, thecompletion of the studios, the formation of studiopartnerships and residency programmes as well asthe cooperation with new exhibition partners onthe basis of a clear concept are crucial objectivesto reach to ensure the art centre’s future.Due to this situation of starting the development inthe middle of an ongoing journey, the stakeholderworkshop held by HALLE 14 on May 3, 2011 wascalled ‘The Future of HALLE 14’ and invited thosepeople most involved in the past and future ofthe space. Accompanied by an external expert,the owners of the Spinnerei, the chairman of theFederkiel Foundation, a member of the HALLE 14team and its managing director met for an intensediscussion. The financial situation of the institution,funding for the next restoration activities,partner acquisition and future fundraising strategieswere the main topics of this workshop. Themost important issues and outcomes were thestrengthening of HALLE 14’s economic positionwhile continuing to follow the non-profit concept,the support from the Spinnerei for further renovationand infrastructure activities and operationcosts and finally the intention to step-up the acquisitionof exhibition and studio partners who cancontribute to HALLE 14’s concept and budget.In keeping with the results of the stakeholderworkshop, the development vision for HALLE14 identifies three areas with large developmentpotential and demand. While not to be neglected,the exhibition and activity programmes call foronly minor structural, organisational and financialimprovement. The crucial aspects for the artcentre’s future are:››the development of the building,››the financial situation in general,››and the search for partners.These aspects were named in the developmentvision. The utilisation concept deals with them inmore detail.Implementing the ConceptThe development of the building was unexpectedlyaccelerated in 2011. The funding awarded in2009 by the City of Leipzig to the Spinnerei andHeike Mutter & Ulrich Genth, Metareflektor Luftoffensive, Forschungsstation, 2006, in the exhibition An das Gerät, 2010HALLE 14 for renovating the roof and façade(first and second phases of the renovation, totalinvestment: 1.1 million Euros, public funding:920,000 Euros) demonstrated recognition ofHALLE 14’s significance within Leipzig’s culturallandscape. The wide variety and high quality ofthe projects at HALLE 14 and the partners’ programmesalong with their draw for local citizensas well as national and international visitors wereand are well-regarded by city and state officials.The idealistic dedication of the board and teamof the HALLE 14 association and the continuingsupport of the Federkiel Foundation and theowners of the Spinnerei, combined with their financialcommitment, were additionally convincingto the decision makers. The participation in theEU-funded project SECOND CHANCE finally assuredthem that HALLE 14 deserved ongoing institutionaland capital support.Thus, in 2011 – parallel to the pilot investmentas part of SECOND CHANCE – the third phase ofrenovation was made possible by a 65 % fundingfrom city, state and federal governments (totalinvestment: 1.2 million Euros). The installation ofinfrastructure and all fire security requirements,the construction of a third staircase and the development of several spaces were the main activities,carried out between August 2011 and April 2012.The remaining 35 % of the investment had to befinanced by the owners of the building, theLeipziger Baumwollspinnerei VerwaltungsgesellschaftmbH. A convincing concept for further buildingdevelopment and a strategy for securing themedium- and long-term financial situation of theart centre were needed to make this possible.This was reached by a revision of the existingutilisation concept and a strengthening of thepartner concept.58II. Project Second ChanceLeipzig | Between the Luxury of Emptiness and the Burden of 20,000 m² of Non-Profit Space59


The partner concept rounds out HALLE 14’s activitiesand helps to guarantee a workable financialsituation. Through cooperations with exhibitionand studio partners as well as some partners forstorage and workshop spaces, it outlines a solutionfor continued economic stability.There are four spaces – between 1,000 and3,800 m² in size – for exhibition partners. Thesepartners are expected to implement an autonomousprogramme of contemporary visual art withambitious exhibition and outreach concepts. Ideally,the partner brings a team for exhibition installation,technical assistance, visitor service, publicrelations, etc. HALLE 14 is interested in long-termcooperations; three years has proved to be a goodperiod in the past. With their programmes, thepartners contribute to the building’s new functionand development. They are asked to pay a usageand coordination fee for their space; in accordancewith the non-profit concept of HALLE 14, this fee isvery low. However, due to the enormous size of thespaces, these fees still help to finance a portion ofthe operating costs.As HALLE 14’s partner from 2008 until 2010, theColumbus Art Foundation (Ravensburg, DE) usedan exhibition space on the second floor to hostgroup shows like Wollust (2008) and schrägterrain(2010) as well as exhibitions linked to its grant programme.Adjacent to the Columbus Art Foundation,the ‘Installation and Space’ class of the Academyof Visual Arts Leipzig used the exhibition platformUniversal Cube from 2006 to 2011. Universal Cubepresented curated class exhibitions and studentprojects, as well as collaborations with other <strong>Europe</strong>anart academies (Geneva, Linz, Lyon).Now new partners need to be found. As part of thesite-specific PPP concept for HALLE 14, strategiesare being developed for how to search formedium- and long-term non-profit partners. Anopen call might be one option, while relying on theexisting network of curators, museum directors,artists and art professors is another.Partnerships for the artist studios are the secondmain objective. As pilot project within SecondChance, 11 studios were erected and developedon the first and second floor of HALLE 14. Thismarks the first construction of smaller units in thebuilding, made for individual use and equippedwith heating, light, external sanitary facilities,internet and – in some cases – furniture. There willbe 14 artist studios in HALLE 14 altogether.One or two studios will host the international fellowshipprogramme Studio14. International artistscan apply for a four-month research and work periodin Leipzig. Artists are invited to apply throughan open call with a changing thematic focus, andan external jury of experts selects the fellows.The other studios are available for the use ofpartners. Different kinds of studio partnershipsare possible. ‘Residence14’ aims to cooperate withnational and international cultural institutions,municipalities, academies or galleries. The partnerinstitution provides the financial means to sendan artist from its city or country to Leipzig forseveral months. Ideally, the partners pay for travel,accommodations and a coordination fee, as wellas giving the artist a stipend. The selection processfor the guest artist is defined jointly by the sendingand the hosting institutions. Studios at HALLE 14Lounge14: public lecture and discussion in the visitor centre, 2009can also be provided as a form of support to artistsby the HALLE 14 association, the FederkielFoundation or one of the exhibition partners. Theycan also be made available to international guestartists. Another type of studio partnership is thecollaboration with other residency or fellowshipprogrammes.The pilot investment was completed in April 2012.Some of the studios were already finished inFebruary, so the first artists could move in then.Currently, 11 out of 14 studios are used by guestsand supported artists, two residency programmesand a residency partnership with the City of Košice(SK). These first experiences are being used todevelop the partnership concept that is included inthe site-specific PPP concept. It has already beenremarked how the short- and medium-term visitingartists complement the internationalisation ofthe Spinnerei and the activities of the art centreHALLE 14. Though yet to be defined, cross-fertilisationbetween the visiting artists and the existingprojects is a possibility.It is essential that all partnerships – exhibition,studio or storage and workshops – follow thenon-profit concept of HALLE 14. According to theart centre’s mission statement and the conditionsof the public funding for all restoration activities,no commercial companies or activities are allowedinside the building. The non-profit status and thenon-profit management are mandatory. Still, thelow usage and coordination costs that all partnersare asked to pay help to cover a part of the operationalcosts. Thus, the degree to which HALLE 14depends on private support and public fundingwill be reduced to a realistic and workablepercentage.The owner of HALLE 14, the Spinnerei GmbH, willremain an important partner, less so financiallythan conceptually and strategically. This is anothercentral topic in the site-specific PPP concept.The management of the additional partners as wellas the ongoing acquisition of exhibition and studiopartners asks for a multi-level collaboration,if for no other reason than to give the managementand team of the art centre HALLE 14 the possibilityto focus on what they do best: develop andorganise ambitious, engaging and multifacetedexhibitions and projects of internationalcontemporary art.www.halle14.orgwww.spinnerei.dewww.aufbauwerk-leipzig.com60II. Project Second ChanceLeipzig | Between the Luxury of Emptiness and the Burden of 20,000 m² of Non-Profit Space61


View from the roof onto the Arsenale and the city of VeniceDuring restoration work inside the towerThe new staircase is a self-confident intervention made of rough materials like iron and concrete.tion of the Arsenale, on the initiative of the secondFrench dominion. During this construction, PortaNuova, a new entrance from the lagoon, was createdin the eastern perimeter fence of the Arsenale,next to the tower of the same name. The impressive35 m high tower was built to place the mastsof large ships. Recently, the state of neglect of thetower’s structures was so advanced that visits werenot allowed for safety reasons. In 2006, Arsenaledi Venezia conducted a design competition forfour works to be realised at the Arsenale. Followingthe competition, the architects Traudy Pelzeland Francesco Magnani developed the revitalisationplan. The works, carried out under thesuperintendence of Beni Culturali (Cultural Heritage),were finished in 2010. The objective ofthe project was to guarantee the conservationof the historic building, combining theseactions with the needs arising from its new functionas an exhibition and cultural centre.The renovation of the Porta Nuova received thePiranesi Honorable Mention, an internationalaward for architecture organised in Slovenia.It also received the Torta Prize, an important prizein the world of building restoration.Developing the ConceptThe SWOT analysis, conducted in 2010, is basedon the opinions and ideas of stakeholderssurveyed through a questionnaire and the directparticipation of two focus groups. The questionnairewas sent to 110 stakeholders from differentpersonal and professional backgrounds: researchcentres, cultural associations and local administrationand investors. The following aspects summarisethe evaluation of the questionnaires and theissues raised at the focus groups.Generally speaking, all those interviewed agreedthat the Porta Nuova Tower project will have apositive impact on the nearby quarter and on thehistoric city centre. Transportation is a criticalelement, as the tower is far from the access pointsto Venice, the railway station and the PiazzaleRoma. The increased attractiveness of the Arsenalecould create the necessity for improvements to thetransport system, creating demand for better accessibilitysolutions, such as faster connections.Opinions about the impacts that the Arsenale/PortaNuova Tower may have on the tourism sector arequite contrasting. Some people think that it cancontribute in a positive way by attracting expertsand interested visitors who create economic andcultural input for the city. Others feel that an increasedcultural offering means a further increasedtourist presence, which would be an unsustainablesituation. There is, however, widespread agreementin considering the project a positive developmentfor residents.64II. Project Second ChanceVenice | The Brain for Arts, Science and Culture: The Porta Nuova Tower65


Renato Meneghetti (IT), Optional, 2006, presented on the occasion of the opening of the 12th International Architectural Exhibition, August 2010All those involved recognise the need to create amanagement plan for the Porta Nuova Tower inorder to guarantee public use of it and to promotepermanent and diversified activities. During thewait for the finalisation of the different relationships,Arsenale di Venezia has started activitiesinvolving local partners. To achieve this objective, itis suggested to involve those already present at theArsenale to allow them to become active players inmanaging the spaces of the Porta Nuova Tower.In terms of management, there is the question ofthe administration of the site and consequentiallythe issue of the different operating models that itcan assume. Nearly everyone involved prefers theoption in which Arsenale di Venezia is the ‘IntelligentAdministrator’, involving the partners of theproject through leasing spaces for permanent andtemporary use. In this case, Arsenale di Veneziabecomes the only responsible party towards theconcessionaire, and it will have to find the economicbalance of the activities.Finally, these considerations come from statementsthat stakeholders made in the questionnaire:››the Arsenale can become the propulsive centreof a ‘new town’ in Venice as an art and scienceheartland, with highly qualified users as thetarget audience;››it can spur the creation of an internationalnetwork of similar centres;››a strategic vision for the future of theArsenale is the basis for integrating the areainto the metropolitan and regionaldynamics, favouring the settlement ofhigh-quality enterprises.As described in the development vision, the planningof activities and artistic and cultural eventsshould be realised in cooperation with expertsand cultural promoters – and, of course, withthe administrator of the Porta Nuova Tower. Theactivity scenarios focus on two areas with multipleactivities:››permanent activities, for example teachinglaboratories and research;››temporary events like exhibitions, cultural andartistic events and performances.Both permanent activities and temporary eventscan create sources of income. The objective is toreach a balanced, sustainable budget.The partners involved in the future utilisation ofthe tower and in the elaboration of the utilisationconcept include:››bodies and institutions working in the area ofthe Arsenale in the artistic and cultural sectoras well as in the field of scientific research,including:• Thetis and Spazio Thetis. Thetis is an engineeringand consultancy company providingprojects and innovative technologies forenvironment and territory, civil engineering,energy plants, mobility management, forecastand modelling services. Thetis’ expertisein the field of sustainable development andresilience engineering has grown operatingwithin the Venice Lagoon, a unique socioeconomicand environmental system in theworld having maintained its identity duringits evolution. Spazio Thetis was born as aninitiative to promote and enhance contemporaryknowledge. It was conceived as aplace to experience and compare ideas, todevelop the arts and culture of our time andas a place where engineering and contemporaryart could profitably interact.• The Institute of Marine Sciences (ISMAR) isthe largest institute of the National ResearchCouncil (CNR) devoted to marine and oceanicscientific research. ISMAR conducts researchin polar, oceanic and Mediterranean regions,focusing on the evolution of oceans andtheir continental margins, the influence ofclimate change on oceanic circulation, submarinehabitats and ecology, the evolutionof fish stocks and natural and anthropogenicfactors impacting economically and sociallyon coastal systems.• The Venice Biennale has been one of themost prestigious cultural institutions in theworld for over a century. Since its foundationin 1895, it has been at the avant-garde,promoting new artistic trends and organisinginternational events in contemporary arts. Itis world-renowned for the International FilmFestival, the International Art Exhibition andthe International Architecture Exhibition. Itcontinues the great tradition of the Festivalof Contemporary Music, the Theatre Festivaland is now joined by the Festival of ContemporaryDance.66II. Project Second ChanceVenice | The Brain for Arts, Science and Culture: The Porta Nuova Tower67


››bodies and institutions that, despite beinglocated outside the Arsenale area, have a previousworking experience in scientific researchand communication applied to the history ofVenice and the Arsenale;››local artists and cultural associations that areinterested and ready to contribute to the developmentof artistic and cultural activities in thearea of the tower.The various partners have been involved throughspecific debates and discussions and through asurvey based on open-ended questions.One of the main features of the SECOND CHANCEproject is the involvement of local artists andcultural associations in the programme for therevitalisation of the Porta Nuova Tower and its surroundingarea. Contact and communication withthe Venetian artistic and cultural community hascharacterised the whole project and given a significantimpetus to the revival of the area in terms ofartistic production and experimentation.The underlying idea is based on the conviction thatthe originality and distinguishing features of PortaNuova Tower can successfully suit various types ofactivity: events for meeting and exchanging culturaland artistic experiences, artistic workshops,dance and theatre performances, music events,visual arts and exhibitions.Some of the mutually developed ideas come frompotential cooperations and partnerships with localartistic and cultural institutions and associations,including the Bevilacqua La Masa Foundation,an institution founded in 1898 and focused onsupporting new artistic research by emerging artists.The idea is to develop a partnership with thePorta Nuova Tower for use of the exhibition space,as well as participating in the SECOND CHANCEcultural exchange of artists by sending selectedartists to SECOND CHANCE partner cities andwelcoming artists from these cities in their studios.Other institutions such as the Venetian Centre forBaroque Music and the Venetian University Centrefor Theatre have also expressed interest in usingexhibition areas or offices within the Porta NuovaTower. Agreements are being finalised with theMusic Academy of Venice and the FondamentaNuove Theatre to stage concerts and dance eventsin the Tower.Another suggestion is to develop a ‘distinguishingfocus’ that could create a new identity for PortaNuova Tower. A valuable path in this directioncould be found in relating the field of contemporaryart, both visual and performance, with thegeographical areas that are historically linkedto the Arsenale, like the Mediterranean basin orEastern <strong>Europe</strong>. This concept is inspired by existingprogrammes, like UNESCO or the Marco PoloSystem, and could be developed to link examplesof the defence and fortification systems of theLaguna, e.g. Forte Marghera on the main land, TorreMassimiliana on Sant’Erasmo Island in the Lagunaand the Porta Nuova Tower in the Venice Arsenale.The planning of cultural and artistic activities to beheld inside Porta Nuova Tower will be developedby an expert committee composed of membersof Arsenale di Venezia, representatives of the Municipalityof Venice and appointed experts. In theinterim, the coordination of activities is entrustedto the project structure of SECOND CHANCE. Activityplanning will be structured in compliance withthe bilateral agreements between the managingparty and the body or institution interested inusing the tower, through the signing of specificcontracts.Implementing the ConceptThe results of the SWOT analysis, the utilisationconcept and especially the development visionhave generated new ideas for the role and functionsof Porta Nuova Tower, suggesting the useof all spaces within it. For this reason, we havedecided to invest in not only one exhibition spacefor the pilot project, as originally proposed,but in all the tower’s spaces, in order to developit as the ‘brain for arts, science and culture’ ofthe Arsenale. The exchange of ideas within theSECOND CHANCE project and the stakeholdersgroups have made it clear that the exhibitionspace should be more flexible and adaptable tothe needs of different cultural and artistic forms.It was decided not to invest in permanent structures,but to use the available resources to designthe additional spaces in order to enable a widerrange of activities.The building is divided into three separatespaces. The ground floor is subdivided into threesections: a large central section flanked by a longand narrow rectangular space with a lift andservices on one side, and a trapezoidal spaceequipped to host seminars and conferences onthe other. The height of the rooms is 8.57 m. Thefirst floor consists of one large space, characterisedby two large ogival arches. The first floorspace (ceiling height: 22 m) is to be used as anexhibition hall and performance space.Exhibition spaces will also be made available toartists interested in taking advantage of the potentialitiesinherent in the tower’s unique architecture.It is no coincidence that Renato Meneghetti’sOptional, dedicated as a ’brain for Arsenale‘ by theartist, was the first work of art to be housed in thetower on the occasion of the 12th InternationalArchitecture Exhibition in 2010. During the Biennaleof Contemporary Art 2011, the Porta NuovaTower hosted the South African Pavilion. Far frombeing a simple museum, the tower will be a centrefor the production of knowledge and the promotionof coordination between the various actors ofthe Arsenale.The restored Porta Nuova Tower is destined tobecome a research centre devoted to the study ofthe scientific, historical and artistic heritageof the Arsenale. It will also serve as a showcasefor the Arsenale’s cultural activities. The Tower’soffices are already occupied by researchers fromthe IUAV (University of Architecture of Venice)with whom the company Arsenale di Venezia hasalready signed an agreement. The research aimsto identify and develop digital tools to visualizethe long history of the Arsenale of Venice, includingits growth and subsequent transformations, itsconstruction techniques, innovations that were developedin the state shipyard, as well as the mainrelationships which were established over timebetween the urban complex and the surroundingneighbourhood. Multimedia installations will thenbe hosted in multiple locations within the Tower.In this way, communal spaces are earmarked forthe use of both Venetians and visitors with aninterest in the Arsenale’s past history and futuredevelopment.www.arsenaledivenezia.itwww.comune.venezia.it68II. Project Second ChanceVenice | The Brain for Arts, Science and Culture: The Porta Nuova Tower69


KrakowPage 70: Christoph Krane, Sculptures, displayed on the courtyardof the Quarter of St. Lawrence in 2011Below: Inside the Museum of Municipal Engineeringexhibitions on the history of science and technology.It is the first museum of its kind in Poland.co-funds the museum’s daily activities and investments.Education and Recreation:The Museum of Municipal EngineeringHistory and Current SituationEstablished in 1998, the Museum of MunicipalEngineering in Krakow gathers, preserves andpresents unique technological objects: landmarksof the Polish automobile industry (the largestcollection in a public museum in Poland) and municipaltransportation and other urban technologyincluding printing presses, household and officetechnology. The museum also presents interactiveThe museum is located in the Kazimierz district, inthe Quarter of St. Lawrence. It is a building complexconsisting of tram depots, bus garages, administrationbuildings and technical facilities, located at15 St. Lawrence Street in Krakow. It encompasseseight historical buildings and two temporarymetal sheds, providing a total usable space ofover 4,000 m², as well as a courtyard with an areaof 3,500 m². The buildings were erected between1882 and 1929 as timber-frame and brick construction(wooden posts and beams with braces).They were designed by the prominent Belgian andPolish architects H. Geron, Karol Knaus, FranciszekMaczynski, Tadeusz Stryjenski and EugeniuszRonka.The museum was founded by the City of Krakow asa municipal cultural institution and separate legalentity. The municipality is the owner of the landand the historical tram depot complex. In 2005it handed over both the land and the complex tothe museum for a period of 25 years. The city alsoThe Kazimierz tram depot was in use until the1960s, when almost the entire track layout wasremoved. Converted to warehouses and workshopfacilities and bus and special vehicle garages, thebuildings gradually lost their original function,which negatively influenced their condition.Because of its unique historical and architecturalfeatures, the historical complex with its courtyardwas registered as a UNESCO World Heritage site in1978 and is also considered a Historical Landmark,according to an Ordinance of the President ofPoland from the year 1995.Restoration of the depot started in 1985; however,public assets designated for this purpose werelimited until 2007, leading to a limited use of thepotential of both the landmark urban-architecturalcomplex and the existing museum. Intensive renovationprocesses began only in 2007.Between 2007 and 2010 a thorough conservationand adaptation of the post-industrial complexfor cultural functions took place as part of a pilotprogramme for the revitalisation of Kazimierz.Seven historical buildings (B, C, D, E, F, H and J, seep. 77) and the historical courtyard were includedin the programme. An additional four buildings (B,C, E and F) underwent construction-conservationactivities, and two buildings (J and H) underwentconservation of the elevation wall. Conservationof building D was limited to the basements. Therenovation of the courtyard has been completed.7071


Historical motor scooters on display on the museum’s square Celebrating the completion of the St. Lawrence District, with management and workers, families and music, 1931A tramway traction has been laid between themuseum (hall F) and the railway at St. LawrenceStreet, which enables the use of historical wagons(the museum could venture outside) and the animationof the space around the museum. Hall F isbeing used as an active depot for landmark tramwaycars, restored between 1985 and 2008, and asspace for exhibitions and other cultural projects.The majority of these activities were completedas a part of the project ‘Sw. Wawrzynca Quarter –building of a cultural centre in Krakow’s Kazimierz’,co-financed by the <strong>Europe</strong>an Regional DevelopmentFund.Developing the ConceptA review of the data concerning the cultural sectorin Poland for the SWOT analysis shows that publicsector institutions play a dominant role. Privateentities get very little support from the publicbudget, which is why the role of the events theycreate is only complementary to the offerings ofpublic institutions. While public sector authoritiesstill do not pay enough attention to the developmentof cultural industries, they are increasinglyaware that culture is strongly linked to the city’sattractiveness and economic growth and that ithas a great impact on the quality of life, attractstourists, makes the city more friendly, fosters thecreativity and development of citizens and makesthe city more competitive. They are also aware thatthe creative industries significantly influence thegrowth of GDP.As a revitalised post-industrial area, the Museumof Municipal Engineering and the Quarter of St.Lawrence have great potential to develop into amodern area for culture, art, leisure and the individualcreative activities of artists and authors.Revitalisation projects in the Quarter of St. Lawrencehave their spatial, socio-economic and legaljustifications in strategic documents and revitalisationprogrammes defined and implemented by theCity of Krakow, e.g. ‘“Old Town” the Local RevitalisationPlan’ and ‘Strategy of Cultural Development inKrakow for the years 2010–2014’.Projects in the Quarter of St. Lawrence are assumedto be complementary to projects realisedin other post-industrial areas of Krakow, includingthe Zablocie district with Oskar Schindler’s factory,Podgorze Power Station and the former Rakowice-Czyzyny airport. Revitalised post-industrial andpost-military areas in Krakow are becoming afashionable and useful base for cultural and creativeindustries.The necessity of subsidising events taking placein Kazimierz (and the Quarter of St. Lawrence)from public budgets is one of the main challengesto the realisation of our plans. This is due tothe absence of habitual expenses for art andculture by citizens on one hand and the lack ofTram workshop in the 1920s: the building is now used as tram museum.effective private sector cooperation models onthe other.These issues have been brought to light at the twostakeholder workshops, conducted in Krakow inDecember 2010 and June 2011. The participants– representatives of local government, culturalinstitutions, cultural NGOs, businessmen andscientists – discussed methods of adapting theexisting infrastructure to cultural use to establish72II. Project Second ChanceKrakow | Education and Recreation: The Museum of Municipal Engineering73


an optimal model that meets the expectations oflocal communities and improves the social andeconomic situation of the district.The Museum of Municipal Engineering – with amodernised infrastructure and broadened offeringand cooperating with other cultural institutions– will become an important component of the leisuretime and cultural industries and their impacton the socio-economic animation of Krakow andMalopolska.From a long-term perspective, the Quarter ofSt. Lawrence will support regional economic developmentbased on cultural and creative industries,particularly the development of cultural tourism.It will be achieved through popularisation of interdisciplinaryforms for the presentation of cultureand development of the educational function ofcultural institutions.The implementation of a new programme in anew post-industrial space will contribute tothe popularisation of science, technology andcultural undertakings, as well as present the revitalisationof the landmark post-industrialspace – the Kazimierz tramway depot – with apractical aspect.The development vision for the Museum of MunicipalEngineering can be summarised as such:The museum is a cultural institution, functioningin a citizen-friendly space, recognised nationallyand internationally thanks to its assets and tothe quality and attractiveness of its educationalrecreationalofferings. It is an institution thatdocuments and promotes knowledge about theinfluence of science and technology on the developmentof urban civilisation in a contemporaryway, with the particular inclusion of the heritage ofKrakow and Malopolska.The fundamental tasks included in the utilisationconcept, ‘Strategy for Development of the Museumof Municipal Engineering’, in the context of theSECOND CHANCE project are as follows:Functional development of the institution as amuseum of science and technology:››systematic enrichment of the museumas an institution that gathers and exhibitslandmarks of industrial culture anddocuments connected to the developmentof urban civilisation;››research on industrial heritage in Krakow andthe region, as well as its national and internationalpresentation through publications andeducational activities: the museum as a placeof education through entertainment;››intense cooperation with science and technologymuseums and NGOs in Poland and abroad,especially in the fields of promotion of themuseum’s activities.Revitalising public life in the Quarter of St. Lawrencethrough an institution with a strong impactThese trams have ended their service on the nearby streets and are now on display.on the surroundings and integration of the localcommunity:››building the cultural centre in Kazimierz andthe effective promotion of it through artisticprojects;››integration of the local community throughoutdoor art events.Raising the level of self-financing of the institution:››effective use of modern management methodsspecific to service business management;››obtaining public or private partners(entities functioning in the cultural sector,among others) and sponsors for theimplementation of proprietary projects;››obtaining <strong>Europe</strong>an funds for the activities anddevelopment of the institution.Implementing the ConceptThe pilot investment of the SECOND CHANCEproject consists of purchasing the necessaryequipment for cultural activities: touch screensconnected to the Internet, audioguides, LED board,screen and projector for outside presentations,electronic information board, etc. Space inbuilding D will be renovated for use as a conferenceroom, including the necessary installationsand furnishing as well as renovation of the roof.The following summary of preliminary strategicpossibilities for the Museum of MunicipalEngineer ing aims to reinforce it as an institutionoperating in the quarter. These events will takeplace on the outside square or in the conferenceroom, in the case of unfavourable weather conditions;some events will use both spaces. It alsoincludes ideas presented and developed during thestakeholder workshops:74II. Project Second ChanceKrakow | Education and Recreation: The Museum of Municipal Engineering75


ul. św. Wawrzyńca1. Increased participation in the Sacrum ProfanumFestival, an, international contemporarymusic festival in Krakow organised once peryear in autumn. The museum will provide thefestival’s social backroom, practice room andcatering area as well as space for courtyardconcerts.2. Museum lessons for primary school students –safe route to school: the idea is to familiarisepupils with the rules of safe pedestrian movementas they form a part of the city traffic. Theclasses, depending on weather conditions,take place in the courtyard (with diagramssimulating crossings, roads and their nearestsurroundings) or inside (screenings andworkshops).3. Monthly lectures about the history of technologyaimed mainly at the elderly living in the 1stDistrict.4. Monthly meetings of councilmembers withthe district community: recurrent assembliesaimed at resolving day-to-day problems of thedistrict, implementing community initiativesand prompting the community to participate inthe life of the district.5. Jewish music concerts.6. Social events for the whole family (concerts,competitions, happenings at the square).7. Outdoor exhibitions of local artists and art galleryopen days.8. Annual exhibitions of train models for childrenand young people, presented by Krakowski KlubModelarzy Kolejowych (Krakow Model TrainClub).9. Educational workshops: scientific and naturalscience classes for children and pupils, usingmultimedia devices, based on the schoolprogramme.10. Summer cinema: outdoor cinema showingeducational movies on technology, as well asartistic projects.Thanks to SECOND CHANCE, the Museum of MunicipalEngineering in Krakow began cooperatingwith an association of historic trams enthusiasts inNuremberg, Freunde der Nürnberg-Fürther Straßenbahne.V., which resulted in the exhibition entitled:Nuremberg – Krakow – back and forth (Norymberga– Krakow. Tam i z powortem. Nürnberg – Krakau.Hin und Zurück). The exhibition opened in Krakowin June 2012 and was presented in Nurembergafterwards.The site-specific PPP concept for the Museumof Municipal Engineering in Krakow states that anengagement in one or more public-private partnershipsis seen as beneficial by the decision makers.As a public partner, the Museum of MunicipalEngineering offers few risks to a public-privatepartnership. The municipal institution is a reliable,experienced and predictable public partner. Fora private partner, a public-private partnershipguarantees a steady income and facilitates com-ul. GazowaGB Museum officeC Conservation workshopD1 Around the circleD2 Temporary exhibition hallD3 Museum libraryMap of the site, showing the current utilisation of the buildingsD4 History of the Polish car industryD5 Temporary exhibition hallE1 Temporary exhibition hallE2 Typography in Krakow 15th–20th centuryF Trams on the Wawrzynca streetmitment within the context of municipal activities.Some risks were identified in the PPP concept,most of which centre around the organisationalstructure, chosen financial strategy and the scopeof activity of the private partner.The appropriate selection and recruitment of privatepartners will be an especially important issue,so that the concluded public-private partnershipcan realise the museum’s goals, strategy and missionin an optimal way. The most desirable groupsamong possible private partners are entitiesproviding services or with profiles similar to themuseum (both commercial and non-profit).IH2H1FE2D5E1G RestaurantH1 Polish Song LibraryH2 Krakow Model Railroad ClubI Garden of New WordsIn the restored and modernised depot, the museumbecomes a cultural centre. The first activityunder the SECOND CHANCE project is to test it as aplatform for various international activities – exhibitionsand performances, meetings, conferences,workshops and concerts (festivals) for residentsand guests. A particular emphasis will be onfamily-friendly projects and activities. The pilotinvestment of SECOND CHANCE will lead towardsthe implementation of the basic ideas of theproject: creating the Quarter of St. Lawrence – aplace with a rich socio-cultural offering, meetingthe needs of its constituents.www.mimk.com.plwww.krakow.plD4BCCD1 D2 D376II. Project Second ChanceKrakow | Education and Recreation: The Museum of Municipal Engineering77


LjubljanaPage 78: View of the main Rog factory building from theLjubljanica River, 2010Selected proposal for transforming the Rog factory into the Rog Centre of Contemporary Arts by the MX_SI architectural studio from Barcelona (ES), 2008An International Centre forArchitecture, Design and Visual Artsin the Rog Factory – a ChallengeHistory and Current SituationIndustrial use of the area and construction ofthe Rog factory began in 1871 when the Janesch(Janež) tannery started operations. After 1900,the tannery was bought by Carl Pollak whorenovated and extended the factory building andexpanded the leather production. The rebuilt fac-tory is the first example of a visible iron-concreteskeleton construction in Ljubljana. The Pollackfactory operated successfully until the economiccrisis of the 1930s. Beginning in 1938, the factorywas managed by the Indus company, a leatherand leather products producer, which was still inoperation during World War II. After 1952 the Rogfactory started manufacturing bicycles and(at first) typewriters at the site. It continued operatinguntil the early 1990s, when production wasclosed down.In the 1990s, the abandoned building was occasionallyused for cultural events such as art anddesign festivals. It was also repeatedly recommendedto dedicate this area to public culturalprogrammes as well (e.g. the international colloquium‘Eurocities’, hosted in Ljubljana in 1995).In 2002, the City of Ljubljana signed a lease for theRog factory grounds with the site’s owner at thetime, the LB Hypo Bank. Since 2006, the premiseshave been rented by users who develop cultural,artistic, urban sport and social activities on atemporary basis.The Rog factory represents one of the last preservedquality examples of old industrial architecturein the city of Ljubljana, and at the same timeit is a decaying post-industrial area in the easternpart of the city centre. According to the city’s plansand as a consequence of the planned renovation ofthe Rog factory area, this quarter is anticipated totransition from neglect into an important developmentaxis of the city centre. The renovation of theRog factory also represents an important elementin the city’s redevelopment of the Ljubljanica riverbanks,through which city life will be reconnectedto the Ljubljanica River.7879


The Rog factory produced bicycles and (at first) typewriters from 1952 until the early 1990s.In 2007, the City of Ljubljana focused intensely onthe project of revitalising the whole Rog factoryarea and renovating the factory building into theCentre of Contemporary Arts. On the basis of theparameters given by the City of Ljubljana in 2007, agroup of experts made a draft programme for renovatingthe old factory and turning it into a centrefor architecture and design. The draft programmewas modified by the City of Ljubljana, and visual artwas also included to create the Centre for ContemporaryArts. Within the new spatial plans for thecity, the area of the Rog factory was redefined asAbove: Former Rog factory, 2010Left: Carl Pollak's tannery at the beginning of the 20th centuryan area for housing, business and culture. In 2008there was an open call to architects and urbanplanners for designing the site, and a proposal bythe MX_SI studio of Barcelona (ES) was selected. Asrequired by the City of Ljubljana, the selected planincludes: the renovation of the listed Rog factorybuilding into the Centre of Contemporary Arts andthe construction of a new extension for a largeexhibition venue (total space of ca. 12,000 m²);an underground car park (578 spaces); a hotel(at Trubarjeva Street); apartments (at RozmanovaStreet); and commercial spaces on the ground floorof the former Rog factory on the side facing theLjubljanica River. The renovation project shouldhave been implemented on the basis of a publicprivatepartnership model that was accepted bythe City Council in 2009; however, the initial investmentsum was reduced in 2011. According to thereduced investment plan, the public portion of theplan now includes the Rog Centre with the new extensionand the appertaining underground car park(50 spaces), while the private part of the partnershipcontains the business premises, undergroundcar park (528 spaces) and the right for the privatepartner to build a hotel and/or apartments (atTrubarjeva Street).The planned Rog Centre will be dedicated primarilyto activities in the fields of architecture, designand visual arts, their mutually connecting andcross-sector collaborations (economy, education,science, environment, space) as well as internationalnetworking. It will offer Ljubljana the publicinfrastructure that has so far been missing forinstalling larger exhibitions and for artistic andcreative production. As a production, exhibition,educational and social space, the new centre willcombine the large exhibition hall, studios, artistsin-residence,laboratories, workshops, presentationand social spaces. The city’s goal is to developa dynamic international centre where differentdisciplines as well as the public, civic and privatesectors will not just coexist, but also synergisticallycollaborate and generate creative and innovativeprogrammes.Developing the ConceptThree years after the City of Ljubljana began therevitalisation of the Rog factory area, it joined theSECOND CHANCE project. Since urbanistic and architecturalplans for revitalising the former factoryand its surrounding area were previously completed,and the main purpose of the future culturalcentre was already defined, the activities related tothe SECOND CHANCE project focus on the developmentof a new cultural institution: its programmesand possible forms of organisation. In this sense,this EU-funded project presents a rare opportunityof a processual and participatory cultural planningin Slovenia.The goal of the SWOT analysis was to review theexisting plans for revitalising the former Rog factoryarea. Completing a SWOT analysis at the beginningof the SECOND CHANCE project was a naturalstep, but the analysis also confronted us with the80II. Project Second ChanceLjubljana | An International Centre for Architecture, Design and Visual Arts in the Rog Factory – a Challenge81


RogLab, the pilot project in Ljubljana Inside the former Rog factory, 2010challenges of adapting a transnational collaborativeproject using common objectives and methodologyto the needs of a local project embeddedin a specific context. Since the shared guidelinesrequired gathering and analysing broad statisticaldata on local cultural and creative industries – datathat had not yet been systematically collected inSlovenia at that time – much of the time foreseenfor the research was spent on data mining, and thebudget allocated for the activity proved to be insufficient.Even though the analysis was adjusted tothe scale of the Rog factory revitalisation project,the guidelines produced a broad data analysis andresulted in a SWOT analysis that was too general.Nevertheless, the SWOT analysis, realised by the researchInstitute for Civilization and Culture, createda good starting point for discussions with variousstakeholders.We presented the first draft of the SWOT analysis atthe 1st stakeholder workshop (December 2010).The 13 stakeholders participating in the meetingincluded individuals who had been involved in therevitalisation project up to that point – decisionmakers, public servants and experts involved in thefirst project group for conceiving the programmescheme. The goal was to compare the results of theSWOT analysis with the first concept for the RogCentre from 2007 and to include people who wereinvolved in writing the first concept of the Rog Centrein the future development activities.The 2nd stakeholder workshop (February 2011)was organised to present the results of the SWOTanalysis to interested stakeholders invited viapublic announcement through email and othermedia. Approximately 100 people joined thepresentation and discussion, showing that theinclusion of stakeholders in the cultural and spatialplanning process is essential, particularly if theinvestment being discussed is the biggest culturalinvestment by the City of Ljubljana since Sloveneindependence. The SWOT analysis confirmed theRog revitalisation project in all its crucial points(location, architectural and urbanistic plans, content/orientationof the new cultural institution);however, many findings did not coincide with theexperiences of the stakeholders. This led to a livelydiscussion and resulted in valuable comments onthe SWOT analysis, as well as constructive critiqueand suggestions for the revitalisation plans.At the 3rd stakeholder workshop (April 2011) wepresented the PPP model for the physical renovationof the Rog factory area and the results of thetransnational PPP concept (cf. p. 88), an analysismade by the researcher Dr. Katrin Fischer of AlfenConsult Weimar (DE). Participants were invitedthrough an open call and specific invitations toprofessionals involved with PPPs in culture.The 4th stakeholder workshop (September2011) focused on the people living or workingin the neighbourhood of the Rog factory. It wasdeveloped in close cooperation with the DistrictCommunity Ljubljana Centre and the Institute forSpatial Policies. The neighbours demonstratedkeen interest in the development plans. They werecurious about the activities and services the newcentre would offer, stated their wishes, proposedideas for the future design of the cultural institution,public park, parking house and commercialareas and expressed regret that they were notaddressed in the earlier stages of the developmentprocess.For us it was crucial to include the stakeholders’ideas and comments in the output of the SECONDCHANCE project and to show in which ways theircontributions influence the development of the revitalisationproject. That is why we have conceivedthe development vision as a working documentthat consists of many layers, based on the resultsof different stages of the development project. The82II. Project Second ChanceLjubljana | An International Centre for Architecture, Design and Visual Arts in the Rog Factory – a Challenge83


document is based on: the ideas and goals forthe future Rog Centre from its founder, the City ofLjubljana; the Programme Outline made forthe Rog Centre in 2007; and the results of the firstanalysis from the SECOND CHANCE project,as well as the feedback from the stakeholderworkshops.The development vision served as working materialfor preparing the utilisation concept draft,the purpose of which is to provide a blueprint forfurther development of the former factory site andthe pilot investment within the SECOND CHANCEproject. Based on the responses to the developmentvision, we aimed to check the feasibility ofthe existing development plans for the future RogCentre. Instead of outsourcing the analysis, wechose a method of work in which we were activelyinvolved. In consultation with the urban sociologistDr. Matjaž Uršič, we chose a focus group method.We formed six focus groups: 1) current usersof the Rog factory; 2) creatives (artists, designers,architects); 3) cultural producers from thepublic and NGO sectors (Museum of Architectureand Design, Monochrome, International GraphicCentre, P.A.R.A.S.I.T.E. Institute); 4) decision makers(representatives of the City of Ljubljana; Ministry ofCulture; Ministry of Higher Education, Science andTechnology; Ministry of Economy and Ministry ofForeign Affairs) ; 5) business sector; 6) internationalgroup of cultural professionals (representativesfrom Vienna Design Centre (AT), Santralistanbul (TR),HALLE 14 from Leipzig (DE), LABoral from Gijon (ES),Fablab Amsterdam (NL)). We sought to include a diversestructure of stakeholders and interest groupsto help us identify key elements and aspects ofsuccessful social, cultural and economic revitalisationfor the Rog factory.A complex question lay at the centre of the focusgroup discussions: How can local and internationalinterest groups (artists, local creative small andmedium enterprises, industry, civic and publicorganisations) be mobilised, and how can theirinterests and needs be optimally linked with theprogramme of the future Rog Centre to boost localcreativity, growth and innovation? We tried toanswer this question, at least partly, by identifyingand explaining the interests and needs of significantgroups of stakeholders. The resulting studyprovides a bottom-up insight and analysis thatcan contribute to the development of a culturalinstitution that responds to the needs of its stakeholdersand future partners in an ideal way, whileidentifying and preventing possible conflicts thatcan occur during a too rapid implementation ofpredetermined generic measures and programmes(‘top-down’ approach).Implementing the ConceptAs a result of the delayed renovation of the Rogfactory premises, the originally planned pilotproject investment had to be adjusted. RogLab,as the name suggests, will be a space for developingand testing programmes and activitiesenvisioned for the future Rog Centre. The focus isthus on professionals and creative people fromthe fields of architecture, design and visual arts.RogLab is conceived as a production, educationand presentation space in an attractively designed30 m² modified shipping container, which willbe positioned on the Petkovškovo riverbank inproximity to the former Rog factory. Due to limitedspace, production activities will be primarily possiblewithin the newly established 3D Workshopwhich will offer rapid prototyping technologyand services. The RogLab programme (prototypemanufacturing, workshops, lectures, exhibitionsand screenings) will be developed within a newlyestablished partner network consisting of companiesand NGOs as well as cultural, research andeducational institutions. The first partners will bechosen in autumn 2012 following a public call forpotential programme partners.The transnational PPP concept gave us insightinto the different possibilities of applying the PPPidea within the cultural field. The examples of thisanalysis have shown that organisations from civilsociety are often long-term partners of public institutions.This was an important starting point forthe development of the Rog Centre, since the newinstitution will have to integrate different private,civic and public partners in order to pursue its ambitiousmission: to become an important referencepoint for creativity and innovation. The challengeof how to include all those partners under thesame roof and determining which kind of legal andeconomic relationships are the most appropriatefor their engagement in the new cultural institutionwill be further addressed through the activitiesof the pilot project and with the help of the sitespecificPPP study and the management plan.Conclusion for NowAt this point, more than 300 stakeholders haveparticipated in the SECOND CHANCE project inLjubljana. On the one hand, many expressedregret that we did not start the SECOND CHANCEactivities before the final phase of the Rogrevitalisation project; they doubt that with theSECOND CHANCE project we can do more thanjust cosmetic corrections of the already existingrevitalisation plans. On the other hand, stakeholdersoften commented that the future contentand programmes of Rog Centre are not yetprecisely defined. It is exactly in this controversialsituation that the Ljubljana SECOND CHANCEproject team tries to act as an interface betweenthe needs and ideas of the City of Ljubljana andof the potential users and partners of the newinstitution. But, the SECOND CHANCE project inLjubljana is not just the crossroads of a varietyof interests; it offers a possibility for a moresustainable spatial and cultural developmenton the basis of analysis and active involvementof stakeholders as well as a pilot project. In thisway, development is being gradually defined andtested – an approach which is an exception inthe Slovenian cultural context.www.roglab.siwww.mgml.siwww.ljubljana.si84II. Project Second ChanceLjubljana | An International Centre for Architecture, Design and Visual Arts in the Rog Factory – a Challenge85


III. Research onPublic-PrivatePartnerships8687


Katrin FischerDeveloping theTransnational Public-Private PartnershipsConcept into Site-SpecificPPP ActionsThe ‘Transnational Public-Private PartnershipConcept’ describes possible approaches to be selectedfor each site of the SECOND CHANCE projectand serves as a basis for developing site-specificpublic-private partnership actions. The TransnationalPublic-Private Partnership Concept definespublic-private partnership in culture as asustainable, long-term contractual cooperationagreement between the public and the privatesector, as well as other institutions of civil society,for the initiation, financing, funding or managementof a cultural institution or activity, underwhich the partners contribute financial, material orimmaterial resources.In conventional PPPs, the partners usually involveone partner from the public sector and one partnerfrom the private sector. However, for PPPs inculture there is a close connection to civil societythrough donations of time, services and moneyby individual citizens and groups of citizens. Ingeneral, the partners have different reasons forinvolvement in cultural activities. Some fundamentalmotives of the potential partners are describedbelow.For public sector partners, PPP arrangementsare often driven by limitations in public fundingbut also by the desire to increase the quality andefficiency of public services or public functions.Usually the public partner is a public body suchas a governmental or municipal administration.Civic institutions can, however, also act as thepublic partner. Civil society comprises the totalityof voluntary social relationships, civic and socialorganisations and institutions. As user or initia-8889


Pages 86/87: Marker sprayed onto the pavement during ‘Offen Auf AEG’,Nuremberg, 2011Page 88: Open Studio of the artist Linda Männel (DE) on the occasion of‘Offen Auf AEG’, Nuremberg, 2011tor, civil society plays a special role. Projects canbe promoted, managed and initiated by citizens’initiatives, the so-called bottom-up approach.The diversity of art and culture has an importantimpact on the quality of life in a city and reflectsthe social structure of the society. The participationof citizens is crucial for additional fundraising,sponsoring and, finally, for using the facility.Urban redevelopment and sustainable urbandevelopment are frequently catalysts for publicparticipation in the growth of cultural institutions.A wide range of cultural facilities increases locationfactors and the quality of life of an area. Urbandevelopment projects can have different effects oncultural institutions through direct actions againstbuilding vacancies or efforts to preserve historicalheritage and thus increase the reputation of anentire region.When committing to a partnership with a publicor civic body, the private sector partner does notnecessarily build on economic value in the formof unlimited profits. While the partnership is stillexpected to be economically feasible, the creationof value and benefits in other forms might bemore important. Self-promotion and public profileare highly relevant considerations for companies.Enhancing the corporate image in order to attractmore customers is a common and popular approachunder the ideas of corporate responsibilityand corporate citizenship. Last but not least, incompanies worldwide there are philanthropists, artlovers and culturally interested managers who liketo contribute to culture.Application of PPP ModelsThree areas of commitment to cultural activitiesand institutions can be defined for PPP conceptsin culture: property management, general managementand programme management. Examples ofeach can be seen in the SECOND CHANCE project.The vision of the SECOND CHANCE project is totransform disused industrial sites into cultural andcreative work and activity spaces; in some of thesites, restoration of the former industrial buildingsis necessary. A PPP in this case would aim ata partnership between private and public partnersto design, construct, renovate and operate thepremises (property management) so they can beused as conference, production or exhibition areasor for other commercial and non-commercialservices. At the AEG site in Nuremberg, the rehabilitationof the area has been identified as a keypriority in Nuremberg’s urban development planfor the western part of the city. The site-specificPPP will focus on the pilot investment – a multifunctionalcultural space with a focus on theatreand music. In contrast, the renovation of thehistorical tram depot in Krakow’s Kazimierz quarterwas already completed in 2010. Their SECONDCHANCE pilot project consists in redesigning theopen space in front of the museum and buildinga conference room. In the former Rog factory inLjubljana there is a huge demand for investment.A public-private partnership might be an attractivemodel for the extensive restoration activities there.This, however, will not be directly connected toSECOND CHANCE.Sculptor Laura Eckert (DE) at work in her studio at Art Room Leipzig in HALLE 14, 2012The art centre HALLE 14 in the former LeipzigBaumwollspinnerei can be considered an exampleof a PPP in general management of a site. Theprivate owner of the site dedicated one of its buildings,HALLE 14, to non-profit activities. The artcentre that was initiated in 2002 is run by an independentassociation. This public-equivalent bodyand its private partner, the owner of the site, areand will be cooperating closely in the acquisitionof new exhibition and studio partners. Additionally,the private partner has become an importantally in the general and financial management ofHALLE 14 and the further development of the artcentre’s concept.The third approach to PPP in culture focuses onprogramme management. This is not only importantto the Rog factory and to Porta Nuova inVenice’s Arsenale but to all project partners andsites in many respects. Programme managementincludes:››management of cultural and artistic activities,including innovative concepts for planning andorganising an institution’s programme;››management of programme related activitieslike technical work (i.e. collaboration with privatecompanies in stage lighting, sound, etc.);››marketing (i.e. collaboration with privatecompanies to promote activities, to search forprivate partners and to identify and involvemedia partners in a PPP, etc.);››management of secondary activities such asadditional services or activities that fit into andserve the global concept, content-wise andeven financially, e.g. shops, bookshops, renta-deskprojects, restaurants, bars and otherservices that attract a variety of peopleto the site.90III. Research on Public-Private PartnershipsDeveloping the Transnational Public-Private Partnership Concept into Site-Specific PPP Actions91


The development of PPP arrangements is acomprehensive task. During the inception phase,minimum requirements comprise extensive knowledgenot only in cultural management, but also infinance, legal framework, risk management andoversight. The private as well as the public partnershould be enabled to participate at any stage in thelife cycle to unleash synergistic effects. Becausethe expected revenue stream is limited, the privatepartner might be attracted by prestigious projectswith high local or even national or internationalreputations. Participation can release marketingand public relation potential for the private partner,which enhances their public reputation. Theaim of the public or civic partner is to develop agood, successful and sustainably financed culturalprogramme.For all types of public-private collaboration, thesoft skills of communication, interaction andparticipation are crucial assets. The equality ofinvolved partners as well as high-quality and transparentcommunication are essential factors forsuccess. The ongoing participation of civil societyhelps to lower any resistance towards the partnershipand encourages support for the cooperation.Financing of the ProjectsDirect support to culture and arts from thepublic sector consists mostly of subsidies, grantsor awards. The distribution of funds differs among<strong>Europe</strong>an countries due to their respective culturalpriorities, legal conditions and, last but notleast, financial situations. Furthermore, in somecountries, like Germany or Poland, the autonomyof regions and municipalities allows them tocontribute significantly to culture at the local level.In some states, public financial support for cultureis distributed through foundations, art councilsand other so-called ‘arm’s length’ bodies. In manycountries, e.g. in Italy, lottery funds for culture arevery important. These lottery funds are primarilychannelled to capital investment. However, as withmany other forms of public support, the contributionscannot be guaranteed and can vary tremendously.Financial support for culture and arts fromthe private sector is mostly motivated by socialresponsibility or marketing goals. Generally, theprivate partner contributes to cultural activitiesthrough funding them. In many Eastern <strong>Europe</strong>ancountries, sponsorship is still regarded as generosity.This differs from the notion in the other parts of<strong>Europe</strong>, where sponsorship is a commercial transaction,linked to business objectives. Commercialsponsorship serves to promote individuals, groupsof people, organisations or events. It can be in theform of money, property or services. Sponsorship isoperated by a company (sponsor) and is often partof the company’s public relations, with the aim ofpromoting products and services. So sponsorshipis support with expectation for returns, directly orindirectly. The benefits of sponsoring can includeapproaching target groups in non-commercialsituations. In many cases, sponsorship providesa higher quality of contact than classic means ofcommunication, such as advertising, or creates anopportunity to approach target groups who otherwisecould not be reached. Moreover, the imageof the person or group can be used for businesspurposes or transferred to the reputation of thesponsor.The benefits of a sponsorship are usually definedin the contractual agreement between the sponsorand the recipient of services (sponsorship dealcontract), in which the nature and extent of theservices of the sponsor and the receiver are alsoregulated. They can be subject to tax incentives forcompanies.NGOs, non-profit organisations, as well as privatepersons are ‘institutions’ of civil society. Donationsor patronage are other ways that financialresources for cultural projects can be allocated bythe institutions of civil society that value a vividcultural life. National or local tax benefits encouragesuch private support. In many <strong>Europe</strong>an countries,legal measures for tax benefits connectedto donations to the cultural sector have been orare currently being introduced. Civic bodies andcitizens are thus encouraged to donate money,material or even time.All partners can contribute to the cultural partnershipby putting effort into the joint activities,creating good ideas, mobilising civic engagement,providing resources such as buildings or land,facilitating approvals and permissions from publicauthorities and enhancing the awareness of culturalactivities.Implementation ofSite-Specific PPP ConceptsWhen developing site-specific PPP concepts, it ishelpful to think of four steps. The first step is developingan institutional plan that clearly describesthe vision of the project, the needs of the visitorsand users, the content and the programme for theinstitution. The visions and programme ideas needto match the facility. This has been already done bythe partners of the SECOND CHANCE project.1. Institutional Plan2. Operational Plan3. Business Plan4. Organisational StructureThe next step is setting up an operational plan.This includes undertaking a market analysis to developa thorough understanding of the needs anddemands of the public, civic or private users andpartners. In addition, it is necessary to think aboutthe operational aspects such as services needed,opening hours, etc. The third step is to bringtogether all the information concerning costs,revenues, funding and other financing issues bydeveloping a business plan for the project. In manycases this happens in parallel to setting up anorganisational structure for the project. It includes92III. Research on Public-Private PartnershipsDeveloping the Transnational Public-Private Partnership Concept into Site-Specific PPP Actions93


the allocation of tasks and responsibilities to thedifferent partners, the development of contracts orsetting up project companies. Applicable organisationalmodels include short-term contracts forpublic-private collaboration, long-term publicprivatepartnership contracts and public-privatejoint ventures.The three basic activities within cultural PPP concepts– property management, general managementand programme management – use specificpatterns of organisational structures. Whereasprogramme-related activities are often subjectto public-private collaboration models, propertymanagement (designing, building, operating)increasingly uses the public-private partnershipcontract model. Public-private joint venture structuresseem to be appropriate for general culturalmanagement activities. All of the projects involvedin SECOND CHANCE show that it is difficult toobtain sufficient financing. Projects in the culturalsector are often financed by multiple sources suchas local public budgets, donations and gifts fromindividuals or companies, national and <strong>Europe</strong>anfunding and, in some cases, revenues from ticketsales or other secondary services.A clear vision and mission and the possibility ofaligning the interests of various stakeholders in therespective cultural activity is of particular importancein finding partners, especially since manycultural activities compete against each other forthe attention of companies and private and publicfunds. PPPs in culture face the additional difficultythat there are no generally accepted standards forcultural programmes. Before entering into a PPPproject, it is essential to initiate an opinion-formingprocess involving the users of cultural activities(civil society) and analyse the cost-benefit relationof the different concepts.The Columbus Art Foundation was exhibition partner of HALLE 14 from 2008 to 2010, using a 1,000 m² space for their programme; shown here is an exhibition ofHeike Kathi Barath, kommst du, 200894III. Research on Public-Private PartnershipsDeveloping the Transnational Public-Private Partnership Concept into Site-Specific PPP Actions95


IV. InternationalConferences inthe Project


Pages 96/97: Detail of a historical spinning machine at theLeipzig BaumwollspinnereiThe SECOND CHANCE Opening Conference tookplace at Zentrifuge, in building 14 of the formerAEG factory complex, Auf AEG. It was organisedby the Department for Culture and Leisure ofthe City of Nuremberg and the MIB AG Immobilienund Beteiligungen in cooperation withZentrifuge. The project partners and the publicwere invited.Nuremberg, 15 July 2010Second ChanceOpening ConferenceIn this opening conference, the SECOND CHANCEproject and the project partners were introduced.In presentations and a panel discussion, the followingquestions were discussed with experts fromdifferent professional fields: How can culture spurthe development of former industrial sites? Howcan public-private partnerships (PPP) be structuredto increase investment in such areas? What is thevalue of transnational cooperations in revitalisingbrownfield sites? Successful examples of there-use of brownfield sites as cultural, creative andliving spaces were presented by representativesfrom ufaFabrik in Berlin (DE), Kaapelitehdas inHelsinki (FI) and Het Paleis in Groningen (NL).The conference was the first public event withinSECOND CHANCE and provided an opportunity tointroduce the project’s objectives and methods aswell as the five sites participating in this transnationalcooperation. The conference also exploredthe possible synergies between the revitalisationof brownfields, the opportunities offered by cultureand creative industries and the needs of urbandevelopment.During the morning session, the introduction toSECOND CHANCE was followed by a panel discussionaddressing the question ‘How can urbandevelopment be influenced and promoted by culture?’Three perspectives were given by the invitedspeakers. Timo Heyn from the empirica institute, aresearch institute for creative industries and urbandevelopment in Leipzig, Bonn and Berlin (DE),spoke about the opportunities created throughthe integration of culture and creative industriesin urban development. The strengths and weaknessesof the standard PPP models as means ofcooperation between the public and private sectorwere pointed out by Hans-Joachim Wegner fromDKC, Deka Kommunal Consult GmbH, Düsseldorfand Berlin (DE). Jens Kurnol from the Departmentof <strong>Europe</strong>an Spatial and Urban Development in theGerman Federal Institute for Research on Building,Urban Affairs and Spatial Development, Berlin (DE),provided insight into the importance of <strong>Europe</strong>ancooperation in the growth of new strategies in urbandevelopment. Kurnol highlighted the methodof ‘peer review visits’ that is part of the pilotinvestment process in SECOND CHANCE. In the bestsense of transnational cooperation, the partnersvisit each other to analyse and discuss the project’soutcomes on site and help each other with recommendations.In the afternoon, these topics were illustratedthrough examples of current <strong>Europe</strong>an projects.Petra Koonstra, managing director of the incubatorbuilding Het Paleis, a former chemicallaboratory in Groningen, described how creativeindustries served as the impulse for the developmentof the former industrial area there. (www.hetpaleisgroningen.nl)Sigrid Niemer, director of ufaFabrik InternationalCenter for Culture and Ecology in the former UFA-Film Copy Centre in Berlin, demonstrated the importanceof sustainable strategies for the developmentof former industrial sites. She explained thefour factors essential for a community’s well-beingthat have been relevant in the development ofufaFabrik: cultural vitality, social equity, economicproperty and ecological sustainability. In 2004,ufaFabrik was listed in the UN-Habitat Database ofbest practices for improving living environments.ufaFabrik offers a wide range of cultural and socialactivities and events for people in the neighbourhoodas well as Berlin as a whole. A heterogeneouscollection of facilities and programs coexists onthe 18,500 m² site, creating a unique atmosphere.(www.ufafabrik.de)Kaapelitehdas Cultural Centre, a former cable factoryin Helsinki visited by more than half a millionpeople per year, was presented by its managingdirector, Stuba Nikula. Nikula reported that hefound thorough planning, research studies andopening celebrations to be the wrong approachto revitalisation activities. In his experience, aprocess-oriented development and step-by-stepusage of buildings and spaces have been most successful.Kaapelitehdas offers permanent and shorttermspace for different fields and forms of art andeducation. It brings together a historically uniquebuilding and uncommon tenants in order to createan internationally, nationally and locally significantmultidisciplinary cultural centre. With 53,000 m² ofspace, Kaapelitehdas is the largest cultural centrein Finland. (www.kaapelitehdas.fi)The presentations were followed by a tour throughthe former AEG complex, where the participantscould get direct insight into the area and theplanned development strategies for the site.9899


Leipzig, 25 & 26 October 2010How to Survive? –Strategies of RevitalisationThrough Arts and CultureModerator and speakers from the panel ‘Energy balance’The public symposium ‘How To Survive?’ tookplace in the visitor centre of the art centreHALLE 14. The HALLE 14 association was theorganiser of the two-day-event.The symposium focused on sustainable strategiesfor the survival of public and private art institutionsas part of post-industrial revitalisationprojects. Speakers and panel participants fromthroughout <strong>Europe</strong> brought valuable experienceand information from their own projects to contributeto an exchange of ideas and methodologies.Events looked at the various challenges that spacesfor art and culture in a post-industrial context arefacing, including economic, political and ecologicalchallenges. The symposium attracted a diverseaudience of about one hundred guests.The symposium began on the evening of October25 with a presentation from Frank Motz, artisticdirector of HALLE 14, and a keynote address byRaoul Bunschoten of CHORA architecture andurbanism in London and Amsterdam (UK/NL). Thesecond day featured three panel discussions onthe themes of gentrification, governance andenergy balance.Frank Motz offered a look back to HALLE 14’s beginningand the symposium ‘How Architecture CanThink Socially?’ The symposium, held in December2002, featured 18 lectures and 7 panel discussions.It focused on how the re-use and reconstructionof former industrial spaces can supportcultural activities that truly engage and serve audiencesand create places that serve as ‘spaces of negotiation’where ‘organisers, artists and the publicoften exchange roles’. He spoke about the otherformer industrial sites that HALLE 14 staff and theSpinnerei partners visited in preparation for theopening of their own space: MassMOCA in NorthAdams, Massachusetts (US), the developments inthe shipyards pivotal to the Solidarity movement inGdansk (PL) and the site of a planned art complexon an island in the south of Paris (FR). From this researchand the symposium, a book was published,1collecting the many speeches and discussions andattempting to summarise what was learned. Motzpresented these ‘rules’ to the symposium attendees.They include the need for artists and developersto recognise their responsibilities in the gentrificationprocess, the need to ‘train’ politicians tosee the value that art and culture create for a cityand the need for public (state) support for culturalspaces in order to generate private support. Motzsaid that commerce and the common good can becompatible, however, sometimes a clear line mustbe drawn between these activities. For example,non-profit and for-profit cultural activities can be1 Tagungsband ’Wie Architektur sozial denken kann‘ / ’How ArchitectureCan Think Socially’, Verlag für moderne Kunst, Nuremberg, 2004.geographically close, as they are at the Spinnerei,but not located in the same building.Motz’s speech ended with a vision for an art spacedescribed by Jean-Philippe Vassal, architect of thePalais de Tokyo in Paris: a square in Marrakesh thatis really just a void crossed by the streets of thecity. However, early each morning, the plaza beginsto be filled by various artists performing. Audiencesgather around these artists until the plazais filled with clusters of people focused on variousperformances and happenings. In the meantime,the plaza is still being crossed by traffic, but nowthe traffic must negotiate these clusters, forminga space of interaction and reaction, a space opento all, with boundaries that are constantlyre-negotiated between users.In his keynote address, Raul Bunschoten took amore literal approach to the question ‘How toSurvive?’ Bunschoten focused on the climate andenergy challenges that are facing our cities and theefforts by large corporations such as Siemens andIBM to dominate the development of the so-called‘smart cities’ of the future. Bunschoten empha-100101


sised the need for sustainable development tocome from below, though he admits that we maywell have to work with these large corporations inorder to achieve significant results – they too arestakeholders in the process.Bunschoten described several of the projects heis working on in China, Germany, England andthe Netherlands. He described in detail CHORA’smethod of approaching these projects through thedevelopment of an inventory of the projects, businessesand organisations that already exist in anarea and can be harnessed to produce sustainablesolutions. Through meetings with local stakeholders,CHORA can then collect enough information todevelop a plan that weaves together the existingresources in order to develop sustainable, lowcarbon emission projects, cities and regions. Bunschotenemphasised the importance of working ona large enough scale to have true impact; a projectat Tempelhof airport represents the smaller end ofthis scale, while a project with cities on either sideof the Strait of Taiwan represents the larger end.He also stressed that the crises of climate changeand austerity budgets can be seen as opportunitiesto drive more creative thinking and inventivesolutions. CHORA acts as a sort of choreographeror curator. While there are no one-size-fits-allsolutions to a given project, CHORA has developeda methodology that supports the sort of real,engaged investment from stakeholders that is essentialto sustainable development.Panel 1Gentrification in DisputePanelSandy FitzgeraldCultural consultant, writer and partner inOlivearte Cultural Agency, Dublin (IE)Lia GhilardiNoema Reserach and Planning Ltd.,London (UK), connected via Skype conferenceUlrike SitteGängeviertel e.V., Hamburg (DE)ModeratorThyra Veyder-MalbergJournalist, Leipzig (DE)The first panel focused on how cultural projectscan be active, empowered and self-aware participantsin redevelopment processes. SandyFitzgerald and Lia Ghilardi took more theoreticalperspectives based on what they have learnedthrough their past experiences, while Ulrike Sittespoke about current events in the Gängeviertel inHamburg.In their opening presentations, both SandyFitzgerald and Lia Ghilardi spoke about the importanceof city development that is true to the spiritof a community and the idiosyncrasies of a place’sexisting identity. Without a thorough analysis ofthe existing resources and culture of a place, it isimpossible to have a long-term, meaningful andsustainable development process. Sandy Fitzgeraldpresented the object lesson of the Temple Bar districtin Dublin. After the area became popular withartists, the city implemented a top-down redevelopmentplan. The area has now become a partydistrict for tourists, no longer a sustainable livingquarter, yet it is seen as a success internationallybecause it brings money to the city. Lia Ghilardialso spoke of the danger of cultural quarters beingused as selling points to outsiders instead ofresponding to the needs of residents. Ghilardi isa proponent of a method known as placemaking,where any development is preceded by theidentification of what makes a place unique andbuilds on these existing resources with the existingprotagonists.Ulrike Sitte presented a short history of theGängeviertel in Hamburg, a relatively recent projectthat is still in flux. In 2009, real estate speculationwas driving the residents out of the district.When an investor bought a group of 12 buildingsbut could not pay for them, a group of artistsdecided to occupy the buildings with the intentof creating a model for alternative forms of living.Sitte stressed that unlike a traditional squat, thegroup has worked to keep their actions open toother residents and users of the area. Events likefestivals create publicity for the project, as well asinviting other locals to become involved. The projecthas been able to generate enough publicity tobe acknowledged by the city, though there are stillquestions as to the future of the area since the cityhas repurchased the land. The challenge now is toremain a partner in the development process. Withthis in mind, a cooperative was formed to create astronger presence in negotiations.Thyra Veyder-Malberg began the discussion byasking the other panellists how they would advisethe Gängeviertel. Ghilardi raised the questionof whether the project is able to be a legitimatespokesperson for the district – how much contactwith and support from other residents and tenantsdo they have? She also suggested that it is often amatter of presentation in discussions with the city.The project should present itself to the city as anasset or resource, rather than a problem. Fitzgeraldpointed out that the group must be very clear internallyabout its vision and mission before talkingwith officials. He also suggested that internationalsupport for the project is an important factorin impressing the importance of the project onthe city.The question of legitimacy was an important pointof discussion for all panellists and the public,focusing on how a project like Gängeviertel doesnot become simply another private interest group,but truly a representative for the district. Transparencyand open platforms for communication arekey elements of this. Fitzgerald pointed out thatit is not just about traditional forms of discussionlike round tables and public forums. If one wantsto reach people who see themselves as disempoweredand shut out of the process, the arts can oftenplay a role through creating other platforms for102IV. International Conferences in the ProjectHow to Survive? – Strategies of Revitalisation Through Arts and Culture103


communication as exemplified by Augusto Boal’sTheatre of the Oppressed and Forum Theatre. Thiscommunication is also tied to the question of howto remain a truly public space and how to convincea general public of the importance and success ofgrassroots development. Fitzgerald raised pointsthat would be repeated later in the day: the cityis not a monolith, and politicians get their powerfrom the people – it is often a matter of realisingour own power as citizens and capitalising on that,as well as having a clearly defined strategy. Ghilardisuggested that there are two strategies – one is toremain in the area, embed yourself into it, organiseevents and become indispensible to the local community.The second option is to become mobile, tobecome a movement, and leave the space to enactyour model of living somewhere else.Panel 2Energy Balance –Renewable Energies in Arts and CulturePanelClaus AnderhaltenAnderhalten Architekten, Berlin (DE)Raoul BunschotenCHORA architecture and urbanism, Londonand Amsterdam (UK/NL)Freddy Paul GrunertZKM | Center for Art and Media, Karlsruhe (DE)Werner Wiartallaengineer and co-founder ofufaFabrik Berlin e. V. (DE)ModeratorKerstin FaberStiftung Bauhaus Dessau (DE)The moderator Kerstin Faber opened the panelwith a series of questions about the relationshipbetween energy concerns and cultural enterprises:How sustainable is sustainability? Is the secondchance really a second chance? How can art andcultural institutions open up new ways of thinkingin development processes? The presentations frompanel members offered overviews of their currentareas of concern, as well as both concrete examplesand theoretical approaches to the question ofintegrating sustainable energy into redevelopmentprojects.Claus Anderhalten presented three projectsfrom his architecture firm that transform formerindustrial buildings. The new uses – as a museum,a vocational school and a dance studio – eachpresented a different set of challenges in terms offinding energy efficient solutions for heating, lightingand water use. Freddy Paul Grunert contrastedhis optimistic perspective from five years ago,when he saw information technology as a unifyingforce, with his current belief that we need to adopthydrogen as an energy source because it is notbuilt on a scarcity model. Raoul Bunschoten brieflyrecapped the idea from his keynote address oftaking a ‘big picture’ view and repeated the need tounderstand how different processes are interactingwith each other in order to create tools to guidethem into positive feedback loops. Werner Wiartalladescribed the origins and development processof the ufaFabrik on the grounds of the former UFA-Film Copy Center in Berlin. Through this processhe and the ufaFabrik have come to a definition forsustainability that takes cultural, social, ecologicaland economic factors equally into account.The discussion questioned how some of thetheoretical approaches represented by Bunschotenor Grunert could be used on a small scale or onprojects that are already in progress. Bunschotenemphasised the need to think utopian and thenwork to put these visions into practice. Wiartallaechoed this sentiment, saying that we should notonly think about how we can sustain our currentmodel of living, but strive to develop new modelsthat integrate new cultural, social, ecological andeconomic values. He feels strongly that we need torecognise that ‘politicians only have a job becauseof us’ as a way of overcoming hurdles facing sustainabledevelopment projects. When asked how topublicise the results of these projects, Anderhaltenstressed the importance of not only conferencessuch as ‘How to Survive?’, but also the need forprofessors to be active in their fields, bringing theirexperiences into the classroom for a new generationto learn from. As a final word, Bunschoten saidthat even in his short time in Leipzig he had seenmany of the resources he mentioned in his keynoteaddress, and that it was the duty of those at theconference to find the tensions and opportunitiesthrough bringing together stakeholders. He notedthat discussions starting with energy managementcan lead to other more fundamental discussionsabout ways of living. Kerstin Faber wrapped up thediscussion with the observation that the projectsof all four panel members are test fields and notedthe need for further examination of the issuesraised by the intersection of ecological sustainabilityand arts in city redevelopment.Panel 3Governance – Bottom-Up or Top-DownPanelDaniela BrahmExRotaprint gGmbH, Berlin (DE)Marko BrumenNew Times New Models, Pekarna MagdalenskeMreže, Maribor (SI)Irene Wigger, Kantensprung AG, Basel (CH)ModeratorStefan RettichKARO Architekten, Leipzig (DE)The final panel presented three forms of organisationfor cultural projects utilising former industrialspaces. In each case, the protagonists of eachproject have different relationships to the space104IV. International Conferences in the ProjectHow to Survive? – Strategies of Revitalisation Through Arts and Culture105


they occupy, providing an interesting spectrum foraudience members to contemplate.Pekarna, a cultural centre in Maribor, exemplifiesthe classical struggle between bottom-up andtop-down development. It began in 1994 as asquat in a former military compound; the buildingsthemselves are owned by the city. Though theorganisation was semi-officially recognised, therewas a crisis when the mayor of Maribor decidedthat the best method for dealing with the decayingbuildings was to relocate Pekarna and commerciallydevelop the compound. The organisationsbanded together to stay on the compound andare continu ing to work with the city to develop arenovation approach acceptable to both parties.In January 2010, the international conference‘New Times New Models’, organised by Pekarnarepresentatives, discussed the role of independentculture in the development of civil societywhile focusing on inventive, dynamic and sustainablemodels of governance that do not obstructautonomy and artistic flexibility.(www.pekarna.org/ntnm/)ExRotaprint is a former factory complex for theproduction of printing machines in the Weddingneighbourhood in Berlin. The protagonists wereoriginally renters in the complex, which includedcommercial businesses as well as artists’ studios.Three artists were irritated by the neglect of thecomplex and formed a non-profit association ofthe tenants with the goal of buying the buildings.When the buildings went up for auction by the city,the association was the only bidder. This openednegotiations with the city, leading to the idea of along-term lease of the grounds and purchase ofthe buildings for 1 Euro. This plan was threatenedby the ‘packet purchase’ of 45 parcels of land byan Icelandic investor. After extensive politicking,press work and research into feasible financingmodels, the complex was removed from the packetpurchase. The final financial solution was thepurchase of the land by foundations that explicitlyseek to prevent land speculation. The land is nowleased to the non-profit corporation ExRotaprintfor 99 years. The lease agreement stipulates thatone-third of rentals go to social organisations,one-third to art organisations and artists andone-third to commercial tenants. Expenses arefinanced through the rent paid by tenants. Thenon-profit association of renters still exists and isa member of the corporate board, providing an importantlevel of transparency in the management.Kantensprung is a development originating fromoutside protagonists in a heavy machinery factorycomplex in Basel. Three architects were interestedin the industrial site and had resolved to try topurchase it if it ever became available. When thesale of the complex was announced, they cametogether and formed a plan within one week. Theywere able to find three private investors as well asthree socially responsible retirement funds thatwere willing to invest in the complex. The buildingsthemselves are owned by a real estate corporation,and the Kantensprung corporation has a 99 yearlease on the land. Kantensprung pays interest onthe loan and collects rent from tenants. To financethe renovation, they looked to banks oriented towardcommunity development. Commercial investorsrequire a specific management structure withclear roles as well as regular financial reporting tothe real estate corporation and investors. Kantensprungis in the process of starting a non-profitfoundation to ensure the future of the complexbeyond the lifetimes of its initiators as well as forthe tax benefits it offers.Discussion focused on the differing conditionsthat led to each of the projects. Daniela Brahmtalked about how anger at the poor managementof Rotaprint was their inspiration – they werealready in the space and wanted to do somethingto improve it. Marko Brumen described how theidea of an ‘alternative capitalism’ driven by sociallyresponsible investing is not an option in Slovenia,so culture is still dependent on the state for funding.The question was posed whether ExRotaprintcould be a model for the Gängeviertel in Hamburg.While some methods of management may transferacross projects, it was agreed that the individualsituation of each project must be carefully considered.Additional points included the need formodels beyond top-down or bottom-up, and RaoulBunschoten expressed the need for good visualisationsof the management models described so thatthey can be easily communicated to others.106IV. International Conferences in the ProjectHow to Survive? – Strategies of Revitalisation Through Arts and Culture107


Ljubljana, 14 April 2011Creative Cities:Possibilities, Policiesand PlacesPanel discussion at the international conferenceThe Creative Cities: Possibilities, Policies andPlaces, an international conference on the roleof creative and cultural industries in urbandevelopment, took place at Ljubljana Castle.The event was organised by two <strong>Europe</strong>anprojects: Creative Cities and SECOND CHANCE.The conference, which began with welcomingaddresses by Majda Širca, Minister of Culture ofthe Republic of Slovenia (SI), and Zoran Janković,Mayor of the City of Ljubljana (SI), included lecturesby two eminent experts, Dr. Tom Fleming (UK) andProf. Dr. Klaus R. Kunzmann (DE), and a panel discussion.This was an opportunity to present ideasabout the creative city in relationship to Slovenianeconomic, spatial and cultural policies as well asto discuss solutions for an efficient positioning ofcreative and cultural industries in city and regionaldevelopment plans in Slovenia and <strong>Europe</strong>.The successful development of creative industriesis based on the knowledge of the potentialsand specific characteristics of the city.Dr. Tom Fleming is an adviser and strategiston cultural policy, creative economy, arts andinnovation. He is also director of Tom FlemingCreative Consultancy (www.tfconsultancy.co.uk), anestablished international consultancy company.In his lecture, Fleming presented the key steps inthe development of creative industry, put forth thearguments for encouraging the establishment ofcreative clusters and offered examples of successfulEnglish and international creative industries.Fleming believes that the development of creativeindustries in cities and regions can bring numerouspositive effects to the regional economy andco-create an attractive image of the city. Creativeindustries can be successfully developed inmetropolises and in smaller towns, ‘but, often,cities use generic solutions from other cities tosupport creativity, without taking into account thelocal specifics, which can distance the creativecity project from the local inhabitants, that is, thelocals do not perceive it as their own. Such projectsare, as a rule, unsuccessful’, Fleming pointed out.This is why it is essential that the development ofcreative industries is based on the potentials andspecific characteristics of the place.The development of creative industries can befacilitated.What examples of successful development ofcreative industries have in common is that theyare developed as a mixture of policy-making andincentives by development institutions, decisionmakerson the local and regional level and spontaneousactions of creative individuals and groups.Decision-makers and capital and developmentinstitutions must be aware that the incentive todevelop cultural industries is based on the conceptof facilitating, and not on determining the contentthese industries want to develop or the location ormode of their development.Let’s encourage creative talents in the city andthe region.Although attracting creative people to settle in acity is often emphasised as a crucial process onthe way to the creative city, Fleming stressed theneed to focus on the inhabitants of the city andthose who have perhaps moved away in the past,pointing out that cities are not commodities to beconsumed, as theorised by the American sociologistRichard Florida, for example.Creative industries are a development opportunityfor contemporary cities, but not thesolution to all development challenges of citiesand regions.Prof. Dr. Klaus R. Kunzmann, professor emeritusfor spatial planning and a widely acknowledgedinternational advisor in the field of spatial policies,presented a growing trend: creative city fever. Thefever is taking hold of postmodern cities, which allwant to become creative hubs and thus form a newidentity. In numerous examples, the creation of acreative image serves to brand the city, but doesnot necessarily lead to a successful development108109


The international audience during the lecture of Prof. Dr. Klaus R. Kunzmannof creative industry with real economic and socialeffects.Creative cities are a trend.The creative city fever in <strong>Europe</strong> and the world is,as Kunzmann notes, a reflection of the changesin the planning of city development. To a certainextent, the creative city marks a change from thetraditional urban, economic and cultural developmentto a more open, dynamic and integratedprocess for securing post-industrial employmentand quality of life for citizens. ‘Certainly, creativeand cultural industries are pioneers in developingnew modes of work, and pioneers in the processof structural urban change, ranging from the functionallydivided city to the multifunctional compactcity. However, not every city has the territorial andhuman potential to turn conditions around, tochange the mindsets of local stakeholders andcitizen values within short time periods. It cannotfree itself from supra-local economic and politicalinfluences. And, given the limited means availablefor organising related policy processes, andadmitting a limited demand for cultural productsand services, expectations are as a rule much toohigh’, explained Kunzmann. The development ofcreative cities is also not a comprehensive answerto all sustainability challenges (societal, economicand environmental) that post-industrial cities facetoday.In cities, creative areas form the nuclei.Kunzmann pointed out that a city is not creative asa whole; there are areas where such developmenttakes place due to specific local conditions. Thecondition for the development of creative industriesis good communication: it is cooperation anddialogue between various interest groups, politicaland business actors.The idea of a creative city and Slovenianeconomic, spatial and cultural policiesThe lectures were followed by a panel discussion,moderated by sociologist Dr. Marjan Hočevar,professor in the Faculty of Social Sciences,University of Ljubljana. In addition to Dr. TomFleming and Prof. Dr. Klaus Kunzmann, MiranGajšek, M. Sc., Head of Department for SpatialManagement, City of Ljubljana; Dr. Pavel Gantar,sociologist at the Faculty of Social Sciences,University of Ljubljana and President of theNational Assembly of the Republic of Slovenia;and Dr. Stojan Pelko, State Secretary at theMinistry of Culture of the Republic of Sloveniaalso participated.The idea of the creative city originated in theconcept of the creative class, conceived by sociologistRichard Florida. It implies that – in addition toindividuals – activities, societies and consequentlycities can be creative. Creative cities should havea high share of creative jobs, especially in advertising,art, culture and high technology, whilethe basis for them is appropriate infrastructure,explained Marjan Hoč evar at the beginning of thediscussion.Pavel Gantar characterised as especially problematicthe theses on the creative class and mobility.In his opinion, there are too few common denominatorsacross the creative class as defined byRichard Florida to actually speak of a class in thesociological sense. Also, in <strong>Europe</strong>, the thesis thatjobs follow people and vice versa does not hold orholds only to a certain extent.Stojan Pelko explained that the Ministry of Cultureof the Republic of Slovenia decided to include theconcept of creative and cultural industries in nationalcultural policies since, in view of the currenttrends in <strong>Europe</strong>an and Slovenian policy-making,this is the only way that culture can fight its wayinto development strategies and the allocation offunds. ‘Creativity, innovativeness and sustainabledevelopment are empty concepts that produce realeffects’, said Stojan Pelko. He pointed out that thekey actors in the development of creative industriesat the state level are the Ministry of Culture,the Ministry of Economy and the Ministry of HigherEducation.People need to be educated and given an opportunityto enter the creative sector and co-create it,said Klaus Kunzmann. Regarding the infrastructure,Tom Fleming pointed out: ‘What is needed is notso much buildings as the conditions we providefor the creative people to work where they are. Weshould, however, by no means deliberately forcethem into a certain place. It is people themselveswith their work that make a place creative.’ Flemingbelieves that creative spaces have to be conceivedin a dialogue with artists and not for them.Miran Gajšek brought up the future development ofLjubljana along the Ljubljanica River, where the futureRog Centre will stand, as part of a broader planto bring the city closer to the river. ‘In Ljubljana,there is a strategic spatial development plan thatincludes answers to numerous current challengesin the city, but it will definitely need to be adaptedto new needs arising in the future. We can neverinclude everything in the plans, some things developby themselves’, said Gajšek.Kunzmann concluded the discussion with the thesisthat the spatial locations of creative industriescannot be planned and determined; city plannerscan only provide the conditions for the developmentof creativity. We should let creative peopledo what they want to and creativity will flourish byitself. This does not mean that ‘everyone can dowhatever they like in urban planning, but that incertain places where people start producing andworking, this autogenous development should beleft alone.’Source: The Regional Development Agency of the Ljubljana Urban RegionTranslation: Maja LovrenovThe lectures and the panel discussion are available at:http://vimeo.com/25405899110IV. International Conferences in the ProjectCreative Cities: Possibilities, Policies and Places111


Venice, 3 November 2011Increasing <strong>Europe</strong>an RegionalPotential for Growth:Culture as Key Driver forUrban and TerritorialRegenerationThe public conference ‘Increasing <strong>Europe</strong>anRegional Potential for Growth’ was held at theThetis Amphitheatre on the site of the Arsenale.It was organised by the Arsenale di Venezia Spawith the support of the City of Venice.The public conference was part of the local initiative‘<strong>Europe</strong> in my City’ linked to Open Days 2011,organised by the <strong>Europe</strong>an Commission. This year’sOpen Days theme was ‘Investing in <strong>Europe</strong>’s future:Regions and cities delivering smart, sustainableand inclusive growth’.As seen within the <strong>Europe</strong> 2020 strategy, cultureand the economic activities related to it can indeedoffer important support in the creation of new jobopportunities, the development of talents and entrepreneurshipcompetences and the valorisationof social and human capital, thus contributing toregional development and territorial cohesion.This Venetian event aimed at the in-depth examinationof the following two themes: (1) therecovery of post-industrial sites and their revitalisationthrough cultural activities addressed to localcitizens and (2) the exploration of possibilities tocreate local partnerships with private investors.These themes were developed from territorial,economic and institutional points of view withinthe framework of activities that Venice has startedto undertake in view of its candidacy for <strong>Europe</strong>anCapital of Culture 2019. The conference broughttogether high-level experts and professionals inthe field of culture, urban development and otherdisciplines to discuss scenarios and challenges forculture and art in sustainable city development.Sustainability was defined in its broadest sense,including social, economic and environmentalaspects.The public event addressed issues from a theoreticalperspective as well as presenting case studiesof innovative uses of culture in territorial development.The issues addressed included culture andlocal development, culture and happiness and revitalisationand creativity. The conference focusedon these issues during major urban renovationprojects in Venice, the other cities of the SECONDCHANCE project and elsewhere. It took place duringthe <strong>Europe</strong>an (and beyond) financial and socialcrises, when new methods and solutions for themanagement of public assets were desperatelyneeded and sought after.The conference started with a welcome and introductionby Stefano Beltrame, Diplomatic Advisorfor the Veneto Region, and Ambra Dina, Managerof the Venice Arsenale Company and one of thepartners in the SECOND CHANCE project. Roundtables defined morning and afternoon sessions.The first round table focused on the theme ‘Cultureand the City’. The discussion centred on developingthe definition of a friendly environment forculture, which is crucial to the development of thecity. Methods of creating this environment includethe creation of spaces – giving a second chance toexisting buildings – but also new policies and strategiesto promote various forms of creativity andfighting against factors that make culture passiveand not creative.Tiziana Agostini, the Deputy Mayor of CulturalActivities of the City of Venice, moderated themorning session. She strongly emphasised thatthe most crucial asset in the urban development ofVenice is its citizens, not, or at least not exclusively,its tourists. The Professor of History of Architectureat the IUAV University Venice Marco De Michelisunderscored Agostini’s point, speaking about cultureas a crucial element for the daily quality of lifeof Venetian citizens. He stressed the importance ofcultural innovation as opposed to exclusively protectingcultural heritage and conserving historicalvalue. Gian Paolo Manzella, the Delegate for Innovationfrom the Province of Rome (IT), introducedthe concept of ‘RomaProvinciaCreativa’. In a timeof reduced public finances, the Province of Romehas defined three simple but effective strategies:(1) connecting people through networking anddocumentation, (2) supporting small companieswith initial funds and counselling and (3) turningempty spaces and buildings into centres of creativityand innovation (teaching, presentation andproduction).Also present at the first round table was MarcoTrevisan, the director of the Affordable Art Fair(www.affordableartfair.com) in Milan (IT). This extraordinaryart fair was founded in 1999 and workswith a large international network of rotatinglocations, usually taking place in former industrialspaces. In 2011, 200,000 visitors came to the fair,which focuses on young artists and inexpensiveworks. Finally Francesco Giavazzi, Professor ofEconomics at the Bocconi University, Milan (IT)and Member of the Board of the Venice ArsenaleCompany, rounded out the discussion with a lookat the interrelation between economics and artsand culture. Giavazzi proposed that the museumcharacter of many <strong>Europe</strong>an cities harms theireconomic growth. While there is an essential connectionbetween innovation and economic growth,112113


Continuingpreservation and imitation can cause stagnation.To blossom and create growth, cultural innovationneeds cultural diversity.The round table during the afternoon session wasdedicated to ‘<strong>Europe</strong>an Capitals of Culture’. Theexpectations and hopes of the Venice and theNortheast Candidature for the <strong>Europe</strong>an Capital ofCulture 2019 were presented by the committee’sdirector Maurizio Cecconi. This forward-lookingperspective was complemented by the pastexperiences of the city of Turku (FI). Cay Sevon,CEO of the Turku 2011 Foundation, spoke aboutthe successes of Turku’s year as <strong>Europe</strong>an Capitalof Culture. These two speakers were joined byFrancesco Sbetti, urbanist and director of SocietàSistema di Bolzano e Venezia; Mattia Agnetti, theorganisation secretary of the Fondazione MuseiCivici di Venezia; Fabio Achilli, the director of theFondazione di Venezia and M9 Mestre Museumproject; and Enrico Bettinello, the director of theTeatro Fondamenta Nuove di Venezia. The roundtable was moderated by Pierfrancesco Ghetti, theDeputy Mayor for Strategic Planning of the City ofVenice.ConclusionsThe relationship between the city and cultureis complex, particularly when the effects of art,historical heritage and tourism are taken intoaccount. The valorisation of cultural heritage andmass tourism can create difficulties for culturalproduction and cultural policies. Cultural production,creativity and innovation need new centres,places, symbols and modalities. Status as a <strong>Europe</strong>anCapital of Culture can be used as a developmenttool when leveraged to increase employmentin the cultural sector, to enable innovation andintegration in all sectors and to take the risk ofmixing quality and quantity tourism. In this way,public participation is increased and, at the sametime, culture is used as a sustainable developmenttool. Marco de Michelis summed it up nicely inhis contribution: ‘Culture should not be a passivevictim of mass tourism or cultural heritage, butshould encourage sustainable development, urbanidentity and multi-sector strength.’SECOND CHANCEMethods and tasks of the projectJan 2010 – Jun 2012SWOT-AnalysesStakeholder WorkshopsDevelopment VisionsUtilisation ConceptsPilot ProjectsTransnational PPP ConceptSite-Specific PPP ConceptsJul 2012 – Sep 2013Peer Review VisitsTransnational Marketing StudyMoving ExhibitionCultural ExchangeManagement Planswww.secondchanceproject.eu114IV. International Conferences in the Project115


ImprintPublisherProject SECOND CHANCERepresented bySECOND CHANCE Lead PartnerAmt für Kultur und Freizeit (KUF)/Department for Culture and Leisurewww.kuf-kultur.deGewerbemuseumsplatz 190403 NürnbergTel: +49 (0)911 231-14817Fax: +49 (0)911 231-5887Luis Prada, Luis.Prada@stadt.nuernberg.deThomas Müller,Thomas.Mueller@stadt.nuernberg.deCoordinatorUte VolzExecutive EditorsKaroline Mueller-Stahl, Konzepte TexteEditionen, LeipzigUte VolzCopy EditorMonica SheetsText ContributorsKatrin Fischer, Franziska Görmar,Klaus R. Kunzmann, Jürgen Markwirth, Matjaž UršičNuremberg: Thomas Müller, Luis Prada,Michael Schels, Bertram SchultzeLeipzig: Monica Sheets, Ute VolzVenice: Ambra Dina, Carole MaignanKrakow: Grzegorz Grzybczyk,Ewelina WawrykiewiczLjubljana: Urška Jurman, Meta ŠtularGraphic DesignAlexander Müller, büro international berlin© 2012 Project SECOND CHANCE© 2012 for the texts: the authors© for the imagesClaus Bach: 18, 28, 54, 55, 59; Robert Beske: 91;Denis Bury: 52, 57; Alessandra Chemollo: 62, 63,64, 65, 66; Columbus: 95; Deutsches TechnikmuseumBerlin: 38/39, 47; HALLE 14: 56; Institutefor the Protection of the Cultural Heritage ofSlovenia: 80 below, 81; Frank Johannes: 50;Miran Kambič : 82; Wiesław Majka: 71; Museumof Municipal Engineering Krakow: 73; MX_SI: 79;Matevž Paternoster: 78, 80 above, 83;Nils Petersen: 32, 44, 46, 48, 49, 51, 86/87, 88;Hendrik Pupat: 61, 101; Spinnerei: 53, 96/97;Stadt Nürnberg: 3; Iwo Wachowicz: 34, 70, 71, 72,75; Fang Wang: 4/5, 6, 12, 24; Nada Žgank: 109,110; cover (from left to right): Frank Johannes,Iwo Wachowicz, Matevž Paternoster, Denis Bury,Alessandra Chemollo; cover back (from top tobottom): Nils Petersen, Denis Bury, Iwo Wachowicz,Matevž Paternoster, Alessandra ChemolloAll rights reserved; no part of this publicationmay be reproduced, stored in a retrieval systemor transmitted in any form or by any means,electronic, mechanical, photocopying, recordingor otherwise, without prior written permissionfrom the publisher.116


The transnational project SECOND CHANCE connects public entities, publicequivalentinstitutions and private companies from Germany (Nuremberg,Leipzig), Italy (Venice), Poland (Krakow) and Slovenia (Ljubljana) that areredeveloping former industrial sites. Common goals are the use of art andculture as the new contents for the ’second chance‘ of these sites and thecreation of sustainable operational and financial structures throughpublic-private partnerships.This mid-project publication introduces the development and implementationof the revitalisation concepts and documents the international conferenceswithin the project. Guest authors Prof. Dr. Klaus R. Kunzmann, Dr. Matjaž Uršičand Dr. Katrin Fischer provide a broader view of the current context for culturaland creative regeneration projects.secondchanceFrom Industrial Use to Creative Impulse

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