MAPPING CULTURE

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in relation to those of other government agencies’ (City of Sydney, 2014a, p.40). These insights demonstrate how cultural infrastructure dynamics and demands are developing in the City of Sydney. This section has also described how cultural classification and resource mapping frameworks have informed the spatial and relational dimensions that we propose as part of our classification framework in ‘exploring “where” and “why” cultural and arts activities occur in places (and what meanings communities attach to them)’ (Gibson, 2010, p.67). The City of Sydney Classification Framework outlined in the next section provides a way of both mapping these spaces and of charting their dynamics in order to understand, explore and support cultural infrastructure and life in the City of Sydney. 39
3. CULTURAL <strong>MAPPING</strong> CLASSIFICATION FRAMEWORK 3.1 Classi 秜ᇘ cation framework overview (rationale, development and value) The rationale for this classification framework is twofold: first, to produce a robust and replicable framework which can be built upon in the future; and second, to highlight the spatial and relational dimensions of cultural venues and infrastructure in the City of Sydney. The development of this classification framework aligns with national and international trends in mapping and analysing cultural infrastructure. The City of Sydney’s Cultural Policy Action Plan (2014a) reflects international trends in measuring and mapping cultural infrastructure (Statistics Canada, 2011; UNESCO, 2009). The value of this framework is that it provides a comprehensive means of covering formal and informal cultural infrastructure. This aim can be achieved through clearly articulating the range of spaces in the City of Sydney and their associated sub-categories. In addition, the spatial features of this classification framework are complemented by the addition of a ‘value chain’ which shows the diverse ways in which these spaces can be utilised. This dual lens of spaces and relations means distinguishing between the mapping of fixed, defined cultural spaces (performance and exhibition space, community and participation space, practice, education and development space, commercial and enterprise space, festival, event and public space) and the charting of fluid, dynamic cultural processes (creation, production, dissemination, use and education) across these spaces (see Figure 8 below). 40
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 16 and 17: Cultural mapping has advanced signi
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 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’
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
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‘system’ or ‘ecology’ of mu
Page 116 and 117:
its extensive coverage of all busin
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noticed that some participants foun
Page 120 and 121:
● Developing further understandin
Page 122 and 123:
of models, spanning, ‘collectives
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
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neighbourhood of Milan. On the desi
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141
Page 144 and 145:
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
Page 154 and 155:
10. Where Creative Professionals Li
Page 156 and 157:
Appendix 2 The full list of ANZSIC
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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
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
Page 178 and 179:
Below we ask you to specify the exa
Page 180 and 181:
Please indicate the category of thi
Page 182 and 183:
When in the day? (you can choose mo
Page 184 and 185:
❏ Not- for- profit (independent)
Page 186 and 187:
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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