MAPPING CULTURE

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of models, spanning, ‘collectives, co-operatives, labs, incubators and can be static, mobile or online’ (p.5). Conducting qualitative and quantitative research with creative hub practitioners and users would enhance understanding of how these hubs connect to creative participation, as well as how they can be sustained and scaled. This idea relates to the goal to ‘ensure opportunities for creative participation are based on sustainable financial models’ (City of Sydney, 2014a, p.51) 3) Sector sustainability: surviving and thriving This priority seeks the following outcomes: ‘A city in which the business and creative opportunities for local artists, creative workers and cultural organisations are supported and expanded, leading to greater sector sustainability, productivity gains and innovation.’ (City of Sydney, 2014a, p.66). Outlined below are some research avenues which connect to this priority area: ● Exploring local and global initiatives to co-design a 齰〗 ordable housing and work spaces for artists A key challenge to sector sustainability spans affordable housing and lack of work spaces, ‘including rehearsal rooms, studios and meeting rooms’ (City of Sydney, 2014a, p.58). While existing spaces in the City of Sydney have been mapped, researching local needs and ideas alongside successful international initiatives could inform future plans to create new spaces and convert existing spaces to support artists, creative workers and cultural organisations. In addition, spatial analysis of industries, in relation to locations of value chain roles, new developments, and perhaps other public information, would provide rich contextual data (real estate prices per square metre would be a relevant metric for the location of small cultural venues in particular). This avenue connects with the following goal: ‘deliver an increased number of affordable, accessible, creative workspaces throughout the city for temporary and long-term use, customised for a diversity of art-form disciplines, including relevant tools, equipment and facilities to promote a diversity of creative practice.’ (City of Sydney, 2014a, p.66) ● Identifying opportunities related to capacity building and centralising promotion of industry-speci 秜ᇘ c training, mentorships, networks and infrastructure Key challenges identified for sector sustainability include, ‘access to and awareness of training, mentorships and business advice; access to business and creative networks; and access to equipment and infrastructure that can facilitate art-form practice’ (City of Sydney, 2014a, p.56). Qualitative and quantitative research would contribute to richer understandings of the existing capacity building opportunities available – alongside their spread and take-up across the City of Sydney villages. The identified gap in centralised information could be addressed via the collection and addition of this information to the proposed ‘cultural web portal/digital platform’ (see Section 1). This resource would visualise village-specific opportunities aligned with the current Cultural Venues and Infrastructure Database. Qualitative interviews with people involved in organisations representing different spatial types and value chain roles 121
could inform this research direction. In addition, more detailed data collection based on relevant industry associations, as well as specific tailored maps for those industries, could be explored. This avenue relates to the following goals: ‘support the financial sustainability of the cultural sector through support for training, mentorships, partnership opportunities and business development’; as well as to ‘Promote financing and funding models based on partnerships, and capitalise on crowdfunding and other philanthropic opportunities.’ (City of Sydney, 2014a, p.66). 4) Improving access, creating markets This priority seeks the following outcomes: ‘Higher levels of participation and engagement in Sydney’s cultural and creative life are evident across the diversity of the community.’ (City of Sydney, 2014a, p.82). Two research avenues aligning with this priority area are described below: ● Examining how technology software, infrastructure and hardware can be blended to support a 齰〗 ordability, travel, information and analytics Exploring the intersection between technology software, infrastructure and hardware (such as websites, location-based apps, wi-fi hot-spots, kiosks and beacons) is another area of future research to enhance understandings of cultural spaces and activities in the digital age. This report identifies ‘Digital Space’ as a developing area of cultural infrastructure created or enhanced by new technologies. Qualitative and quantitative research would help raise awareness of existing connections between software, infrastructure and hardware, as well as identify new opportunities. For example, by digitally connecting with new audiences and consumers; supporting wayfinding between venues and villages; as well as examining the physical analytics of movements in museum and cultural spaces (Stuart, 2014). This avenue aligns with the following goal: ‘develop actionable, consumer-focused initiatives to maximise the markets for the city’s cultural offerings.’ (City of Sydney, 2014a, p.82) ● Exploring the needs and interests of diverse and non-traditional audiences Researching how access to cultural infrastructure and engagement with cultural events could be enhanced for people with a disability and young people is another avenue to explore. It would generate more nuanced insights into the needs and perspectives of particular audiences, and also into how infrastructure and events can be planned to support wider access to the arts. This idea aligns with the following goal: ‘support the city’s cultural infrastructure, services and programs to respond to diverse markets with diverse needs including people living with a disability and young people.’ (City of Sydney, 2014a, p.82) 122
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MAPPING CULTURE venues and infrastr
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TABLE OF CONTENTS Acknowledgements
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L ist of Tables Table 1 Layers and
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List of Figures Figure 1 The concen
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NAICS NAVA NCVO SFF SHFA SIC SOC UN
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● A detailed case study of the Re
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1.2 Project phases This project ali
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Cultural mapping has advanced signi
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2.1 The concept of culture 2.1.1 De
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industries fails to recognise the d
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Figure 1 The concentric circles mod
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Hesmondhalgh also incorporates anot
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Cultural mapping enables us to unde
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To address the breadth question, th
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Figure 4. Culture cycle (UNESCO, 20
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Figure 5. Six functions of the valu
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2.4.3 Example 3 2 CANADIAN FRAMEWOR
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The framework is based on the conce
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SGS Economics & Planning (2015/2016
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in relation to those of other gover
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Figure 8. Cultural Venues and Infra
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Performing Art Venues ● Concert h
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iii) Community and Participatory Sp
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intended) use afterwards. The durat
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3.3 Incorporation of the value chai
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3.4 Application to this study (rele
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single piece of information. The ge
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The research team has acknowledged
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Data Source # of venues Approach Cu
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Data Source # of venues Approach Cu
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Cultural industry types Count Count
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Hills (Crown and Baptist Street Vil
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Figure 13. Heat map of all cultural
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venues engage in ‘production’ (
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creation (22.3%). This finding can
Page 72 and 73: 5.4.2 Chinatown and CBD South Villa
Page 74 and 75: Figure 15. Spatial categories for C
Page 76 and 77: Cultural space category Count Count
Page 78 and 79: 5.4.4 A brief comparison of the thr
Page 80 and 81: 6.2 Cultural venues by spatial type
Page 82 and 83: With regard to ‘practice, educati
Page 84 and 85: There are also 7 drama and dance th
Page 86 and 87: 6.3 Cultural venues by value chain
Page 88 and 89: Table 29 shows the distribution of
Page 90 and 91: Figure 19. Space for ‘creation’
Page 92 and 93: Figure 21. Space for ‘disseminati
Page 94 and 95: Figure 23. Space for ‘education
Page 96 and 97: iii) Commercially-led developments
Page 98 and 99: 7. MAPPING OF CULTURAL VENUES BY SE
Page 100 and 101: Figure 24. Venues in the music sect
Page 102 and 103: 7.1.1 Mapping of the contemporary m
Page 104 and 105: 7.2 Mapping of the visual art secto
Page 106 and 107: Table 35 shows the breakdown of the
Page 108 and 109: 7.3 Mapping of the architecture and
Page 110 and 111: Figure 29. Distribution of the arch
Page 112 and 113: 8. EVALUATION OF METHODOLOGY 8.1 Ra
Page 114 and 115: ‘system’ or ‘ecology’ of mu
Page 116 and 117: its extensive coverage of all busin
Page 118 and 119: noticed that some participants foun
Page 120 and 121: ● Developing further understandin
Page 124 and 125: 5) Sharing knowledge This priority
Page 126 and 127: ● Identifying and examining ‘un
Page 128 and 129: promising areas for deepening and w
Page 130 and 131: City of Sydney (2012a) Creative Ind
Page 132 and 133: Cunningham, S. and Higgs, P. (2008)
Page 134 and 135: Mateos-Garcia, J. and Bakhshi, H. (
Page 136 and 137: Taylor, A. (13 March 2016) Carriage
Page 138 and 139: 12. THE PROJECT TEAM Lead consultan
Page 140 and 141: neighbourhood of Milan. On the desi
Page 142 and 143: 141
Page 144 and 145: 3. Seattle Cultural Space Inventory
Page 146 and 147: 4. Culture Map Malta Name of the ma
Page 148 and 149: None, it is a simple excel file upl
Page 150 and 151: Technology Google Maps Crowdsourcin
Page 152 and 153: 151
Page 154 and 155: 10. Where Creative Professionals Li
Page 156 and 157: Appendix 2 The full list of ANZSIC
Page 158 and 159: Music retailing Audio cassette reta
Page 160 and 161: Motion picture and video production
Page 162 and 163: Cable and broadcasting Cable and br
Page 164 and 165: Professional photographic services
Page 166 and 167: Museum of applied art and science M
Page 168 and 169: Religious organisation Bible societ
Page 170 and 171: Consent Do you agree to participate
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Have you ever been involved in cult
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❏ Commercial ❏ Performance or e
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Among the six domains of cultural a
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Below we ask you to specify the exa
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Please indicate the category of thi
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When in the day? (you can choose mo
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❏ Not- for- profit (independent)
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Can you tell us more about this pla
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World cities cultural report_3 addi
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Biennale of Sydney Website 29 Augus
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Architecture Include architecture d
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Colleges All public or private coll
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CHINATOWN RESEARCH REPORT WESTERNSY
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MAPPING CULTURE

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