MAPPING CULTURE

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Cultural mapping has advanced significantly in recent years following innovations in GIS technologies and geo-spatial analysis. For example, the City of London in Ontario, Canada has produced the London Cultural Resource Database (LCRD), a ‘centralised inventory of information about London’s cultural resources’ (Canadian Urban Institute, 2013, p.5). In addition, software programs such as Tableau , StatPlanet and OpenStreetMap offer ways to provide well-designed, visually appealing interactive maps for users (e.g., St Thomas Cultural Map, see http://bit.ly/1Lr0xk2 ) (see Appendix 1) The accessibility and usability of these maps are vital for sparking conversations, questions and interest which can inform future planning and collaborations. Hence, we have proposed to include a public engagement phase after the completion of this project, involving organisation of a roadshow at public libraries to raise awareness of this project’s outputs, as well as to promote interest in, and use of, the cultural maps that it has generated. In our original tender document we proposed to create a number of interactive maps via the key cultural domains and associated sub-categories (detailed in Section 3) to explore cultural venues and infrastructure across the city at three scales: the City of Sydney scale, the village scale and the village comparison scale. Whilst we understand the concerns and reservations of the City of Sydney about the long-term maintenance issues regarding these maps, we believe that they have potential scope for further development of this project in future. 15
2. BACKGROUND The Institute for Culture and Society, Western Sydney University was engaged by the City of Sydney to undertake a systematic mapping of cultural venues and infrastructure within the City of Sydney Local Government Area (LGA). One of the key objectives of the project was to develop a cultural mapping methodology that is both aligned with the City of Sydney Cultural Policy and Action Plan (2014) and consistent with global best practice. In particular: As a capital city government, the City has many means of supporting Sydney’s cultural life and creative communities, and fostering and promoting individual and collaborative creative expression. It also has a special leadership role, including planning for cultural infrastructure and precincts as part of its urban-planning process. The ubiquitous interweaving of culture and creativity into every aspect of life also means it is sensitive to government regulations and policy in all areas. (p. 18) In view of this position taken by the City of Sydney, the project team has reviewed cultural studies, cultural policy, cultural mapping, sociological, urban studies and critical geography literature (alongside government, council and media reports) to explore the following topics: ● ● ● ● ● The concept of culture Classification of culture: the definition debates Relationships between culture, mapping and infrastructure Three examples (plus an overview) City of Sydney: where to next? This section of the report aims to provide a brief synthesis of the interrelationship between cultural concepts, classifications, mapping, infrastructure and policy making. To support our analysis, we highlight pivotal processes that create cultural infrastructure, as well as approaches being used in other countries, before highlighting some of the distinctive challenges and opportunities facing the City of Sydney. This discussion demonstrates how a blend of policy, practice and academic literature has informed the classification framework described in Section 3 . 16
Page 2 and 3: MAPPING CULTURE venues and infrastr
Page 4 and 5: TABLE OF CONTENTS Acknowledgements
Page 6 and 7: L ist of Tables Table 1 Layers and
Page 8 and 9: List of Figures Figure 1 The concen
Page 10 and 11: NAICS NAVA NCVO SFF SHFA SIC SOC UN
Page 12 and 13: ● A detailed case study of the Re
Page 14 and 15: 1.2 Project phases This project ali
Page 18 and 19: 2.1 The concept of culture 2.1.1 De
Page 20 and 21: industries fails to recognise the d
Page 22 and 23: Figure 1 The concentric circles mod
Page 24 and 25: Hesmondhalgh also incorporates anot
Page 26 and 27: Cultural mapping enables us to unde
Page 28 and 29: To address the breadth question, th
Page 30 and 31: Figure 4. Culture cycle (UNESCO, 20
Page 32 and 33: Figure 5. Six functions of the valu
Page 34 and 35: 2.4.3 Example 3 2 CANADIAN FRAMEWOR
Page 36 and 37: The framework is based on the conce
Page 38 and 39: SGS Economics & Planning (2015/2016
Page 40 and 41: in relation to those of other gover
Page 42 and 43: Figure 8. Cultural Venues and Infra
Page 44 and 45: Performing Art Venues ● Concert h
Page 46 and 47: iii) Community and Participatory Sp
Page 48 and 49: intended) use afterwards. The durat
Page 50 and 51: 3.3 Incorporation of the value chai
Page 52 and 53: 3.4 Application to this study (rele
Page 54 and 55: single piece of information. The ge
Page 56 and 57: The research team has acknowledged
Page 58 and 59: Data Source # of venues Approach Cu
Page 60 and 61: Data Source # of venues Approach Cu
Page 62 and 63: Cultural industry types Count Count
Page 64 and 65: Hills (Crown and Baptist Street Vil
Page 66 and 67:
Figure 13. Heat map of all cultural
Page 68 and 69:
venues engage in ‘production’ (
Page 70 and 71:
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’
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Figure 21. Space for ‘disseminati
Page 94 and 95:
Figure 23. Space for ‘education
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iii) Commercially-led developments
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7. MAPPING OF CULTURAL VENUES BY SE
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Figure 24. Venues in the music sect
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7.1.1 Mapping of the contemporary m
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7.2 Mapping of the visual art secto
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Table 35 shows the breakdown of the
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7.3 Mapping of the architecture and
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Figure 29. Distribution of the arch
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8. EVALUATION OF METHODOLOGY 8.1 Ra
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‘system’ or ‘ecology’ of mu
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its extensive coverage of all busin
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noticed that some participants foun
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● Developing further understandin
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of models, spanning, ‘collectives
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5) Sharing knowledge This priority
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● Identifying and examining ‘un
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promising areas for deepening and w
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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. (
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Taylor, A. (13 March 2016) Carriage
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12. THE PROJECT TEAM Lead consultan
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neighbourhood of Milan. On the desi
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141
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3. Seattle Cultural Space Inventory
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4. Culture Map Malta Name of the ma
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None, it is a simple excel file upl
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Technology Google Maps Crowdsourcin
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151
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10. Where Creative Professionals Li
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Appendix 2 The full list of ANZSIC
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Music retailing Audio cassette reta
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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
Page 172 and 173:
Have you ever been involved in cult
Page 174 and 175:
❏ Commercial ❏ Performance or e
Page 176 and 177:
Among the six domains of cultural a
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Below we ask you to specify the exa
Page 180 and 181:
Please indicate the category of thi
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When in the day? (you can choose mo
Page 184 and 185:
❏ Not- for- profit (independent)
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Can you tell us more about this pla
Page 188 and 189:
World cities cultural report_3 addi
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Biennale of Sydney Website 29 Augus
Page 192 and 193:
Architecture Include architecture d
Page 194 and 195:
Colleges All public or private coll
Page 196:
CHINATOWN RESEARCH REPORT WESTERNSY
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MAPPING CULTURE

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