| Acknowledgements |
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9 | (2) |
| Introduction |
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11 | (2) |
| Chapter 1 An Introduction to the Cultural Quarter Landscape |
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13 | (16) |
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1.1 Conceptual Confusion: Arts Industry, Heritage Industry, Creative Industries or Cultural Industries? |
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15 | (1) |
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1.2 The Creative Industries Concept |
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16 | (4) |
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1.3 Culture as a Creative Industry |
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20 | (4) |
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1.4 Defining Cultural and Cultural Industry Quarters |
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24 | (1) |
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1.5 The Ingredients for a Successful Cultural Quarter |
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25 | (3) |
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1.6 Criticisms of Cultural Quarters |
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28 | (1) |
| Chapter 2 The Cultural Economics of Quarters |
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29 | (18) |
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2.1 Introduction: Culture and Economic Development |
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31 | (2) |
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2.2 The Developmental Role of Culture in Urban Settings |
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33 | (7) |
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2.3 Cultural Quarters: Recreational Spaces or Creative Hubs? |
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40 | (5) |
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2.4 From the Economics of Cultural Quarters to the Cultural Economics of Quarters? |
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45 | (2) |
| Chapter 3 The Role and Function of Historic Buildings in Cultural Quarters |
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47 | (14) |
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49 | (1) |
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3.2 The Re-appraisal of Historic Environments |
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50 | (2) |
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3.3 Identification and Rehabilitation |
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52 | (6) |
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3.4 Creating Environments |
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58 | (3) |
| Chapter 4 Universities and Cultural Quarters |
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61 | (12) |
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4.1 A brief History of Universities |
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63 | (2) |
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4.2 The Changing Role of Universities and the Rise of the Knowledge Economy |
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65 | (4) |
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4.3 Universities, the Creative Industries and Cultural Quarters |
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69 | (3) |
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72 | (1) |
| Chapter 5 Cultural Quarter Practice in England |
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73 | (38) |
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5.1 Sheffield Cultural Industries Quarter |
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75 | (6) |
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5.2 The Other Sheffield Cultural Industries Quarter: Sheffield Art Gallery and Museum Trust |
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81 | (13) |
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5.3 A Reinvention of the Craft Industries, Wolverhampton Cultural Quarter |
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94 | (6) |
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5.4 Cultural Entrepreneurship, Newcastle Arts Centre |
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100 | (4) |
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5.5 The Jewellery Quarter, Birmingham |
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104 | (7) |
| Chapter 6 Features and Benefits of Cultural Quarters, Internationally |
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111 | (48) |
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6.1 The Museums Quartier, Vienna, Austria |
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113 | (16) |
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6.2 The Geelong Cultural Precinct, Australia |
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129 | (7) |
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6.3 Pawtucket, Rhode Island, United States, Turns to Artists for Its Revitalisation |
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136 | (10) |
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6.4 Temple Bar, Dublin, Ireland |
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146 | (6) |
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6.5 Grand Opera House, Belfast, Northern Island |
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152 | (7) |
| Chapter 7 Putting the Principles into Practice: A Cultural Quarter for a Proud Northern Town |
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159 | (24) |
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7.1 Politics: The Wider City Region and the Manchester Shadow |
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164 | (4) |
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7.2 Local Policy Frameworks |
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168 | (2) |
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7.3 The Bolton Cultural Policy Concept |
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170 | (4) |
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7.4 Bolton Public Sector Cultural Provision |
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174 | (6) |
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7.5 Further and Higher Education, With Some Reference to Schools |
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180 | (1) |
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7.6 Bolton Cultural Industry Statistics |
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180 | (3) |
| Chapter 8 Key Influencing Factors in Establishing a Cultural Quarter |
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183 | (10) |
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8.1 The Town Centre Factor, an Architectural Inheritance and Zoning |
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185 | (2) |
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8.2 Creative Business Growth as a Contribution to Wealth Creation |
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187 | (1) |
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8.3 The Existence and Use of Council Cultural Assets |
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187 | (1) |
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8.4 The Existence of a Cultural Infrastructure and the Cultural Tourism Influence |
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187 | (1) |
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8.5 Graduate Retention and Added Value Jobs |
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188 | (1) |
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8.6 The Information Technology Phenomenon |
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188 | (2) |
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8.7 The Importance of Cultural Diversity and the Bolton Profile |
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190 | (1) |
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8.8 The Manchester Shadow |
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191 | (2) |
| Chapter 9 The Nuts and Bolts: Outputs, Resources, Procurement Routes and Management |
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193 | (16) |
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195 | (2) |
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197 | (5) |
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9.3 Management Structures to Deliver the Development |
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202 | (4) |
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9.4 The Availability of Public Resources to Support a Cultural Quarter Development |
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206 | (3) |
| Chapter 10 Public Sector Decision-Making: Two Crescents: One Place? |
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209 | (8) |
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212 | (1) |
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10.2 Adopt a Single-Cluster Site |
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212 | (1) |
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10.3 Adopt a Designated Cultural Quarter, Two Crescents - One Place |
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213 | (2) |
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10.4 A Generic Structural Model |
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215 | (1) |
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10.5 The Purpose of a Cultural Quarter |
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215 | (1) |
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10.6 How Can This Be Achieved? |
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216 | (1) |
| Chapter 11 The Composition of the Cultural Quarter in Practice |
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217 | (12) |
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219 | (1) |
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11.2 Activity: Information, Networks and Digitisation |
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220 | (2) |
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11.3 Activity: Performing Arts |
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222 | (1) |
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11.4 Activity: Tourism and Hotels |
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223 | (1) |
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11.5 Activity and Meaning: Cultural Organisations, Voluntary Groups and Societies |
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223 | (1) |
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11.6 Activity and Meaning: Creative Businesses and Ateliers |
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223 | (1) |
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11.7 Activity and Placemaking: Small Businesses and Shops |
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224 | (1) |
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11.8 A Sense of Place: The Marketplace |
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224 | (1) |
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11.9 A Sense of Place, Space and Fabric: The Town Hall and Public Events |
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224 | (1) |
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11.10 A Sense of Place, Space and Fabric: Street Furniture, Signage, Nature and the Environment |
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225 | (1) |
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11.11 Movement: Transport |
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225 | (4) |
| Conclusion |
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229 | (8) |
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12.1 How Do The Cultural Quarters Compare? |
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231 | (2) |
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12.2 Critical Success Factors and Risks |
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233 | (4) |
| Bibliography |
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237 | (12) |
| Appendix 1-The Bolton Town Centre Action Plan |
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249 | |
Lisainfo e-raamatute kohta