MAPPING CULTURE

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6.2 Cultural venues by spatial types and their characteristics Our mapping exercise of cultural venues in Redfern Street Village shows that the majority of cultural venues are categorised as ‘commercial and enterprise’, which accounts for 39% of the total venue count. The second largest number of cultural venues belongs to the category of ‘practice, education and development’, representing 24.7% of total venues, and due mainly to the presence of the Camperdown campus of the University of Sydney in the Village area. ‘Festival, event and public’ space and ‘community and participation’ space account for 14.9% and 12.5% respectively of total venues in the Village. The smallest venue category is ‘performance and exhibition space’, which only accounts for 8.8% of cultural venues in the Village area (see Table 19). Cultural Space Category Count Count % Commercial and Enterprises 128 39.0% Practice, Education and Development Festival, Event and Public Space 81 24.7% 49 14.9% Community and Participation 41 12.5% Performance and Exhibition 29 8.8% Total 328 100.0% Table 19. Breakdown of cultural venues by spatial type Tables 20-24 show the characteristics of cultural venues in each spatial type. As exhibited in Table 20, within the category of ‘commercial and enterprise’ space the top five industry types are: architectural services (23.4%), motion picture and video production (12.5%), other publishing (7.8%), commercial art gallery (7.0%) and digital industries (7.0%). Architectural services, which account for 30 venues, constitute nearly one quarter (23.4%) of the total cultural venues in this space. This percentage is consistent with the findings of the 2012 Creative Industries Sector report that architecture services is the largest sector in the creative industries (in terms of number of business establishments) in the City of Sydney (City of Sydney, 2012a, p.21). The concentration of architectural services in the Redfern Street Village is also similar to the emergent pattern in its nearby Crown and Baptist Streets Village (City of Sydney, 2006, p.18). The second largest industry category in the area - motion picture and video production - is also worth noting, as it may result from the presence of Channel 7 (television broadcasting) and its studios attracting a large number of nearby specialised suppliers. 79
Cultural industry types Count Count % Architectural services 30 23.4% Motion picture and video production Other publishing (printing companies) 16 12.5% 10 7.8% Commercial art galleries 9 7.0% Digital (websites, design, apps, games) Advertising & marketing services Professional photographic services 9 7.0% 8 6.3% 8 6.3% Performing art operations 7 5.5% Music and other sound recording 6 4.7% Radio broadcasting 5 3.9% Other specialised design services Magazine and periodical publications Creative art (supporting) services 4 3.1% 3 2.3% 3 2.3% Artists 2 1.6% Book publishing 2 1.6% Bookstores and newsagencies 2 1.6% Art supplies retailing 1 0.8% Antique goods retailing 1 0.8% Music publishing 1 0.8% Television broadcasting 1 0.8% Total 128 100.0% Table 20. Breakdown of ‘commercial and enterprise’ category by cultural industry type 80
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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
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 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 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
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Cunningham, S. and Higgs, P. (2008)
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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
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Cable and broadcasting Cable and br
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Professional photographic services
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Museum of applied art and science M
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Religious organisation Bible societ
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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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