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Guido Guerzoni 22th November 2012 Lesson 1 Urban policies and cultural institutions

Urban regeneration: a global dilemma

Recent years have seen a substantial corpus of work emerge from urban geographers, planners, political scientists, economists and sociologists on the different aspects of the urban politics of regeneration. Conceptual and empirical attention has rightly been paid to four structural changes in the governance of downtowns:
1. A re-functionalisation and re-scaling of state spaces along entrepreneurial, neo-liberal lines with implications for the urban 2. A dramatic rise of territorial alliances (public-private partnerships, coalitions, regimes) governing the development of downtowns with the direct role of government reconstituted, leading to the emergence of

Urban regeneration: a global dilemma

3. A focus upon the creation of market-led, spectacular and gentrified cityscapes; exchange privileged over use values
4. Strong investments in regeneration processes based upon the creation of spectacular cultural institutions, with monumental architectures

Urban Regeneration: a definition

. Comprehensive and integrated vision and action which leads to the resolution of urban problems and which seeks to bring about a lasting improvement in the economic, social and environmental condition of an area that has been subject to change. Source: Urban Regeneration: A Handbook, Peter Roberts and Hugh Sykes (eds), Sage Publications, 2000 Revitalization/rebirth/restart/regrowth Connotations death/life: bring back life illness/health: restore health decline/growth: end decline/bring growth

Historical premises
1980s: Economic and urban decline II Industrial revolution sectors collapsed Industrial-port activities were centered in downtowns: endangered areas Increasing globalisation Erosion of the key traditional competitive functions of cities. Situation encouraged leaders to count on a large-scale urban renewal to start a change of economic strategy: culture become the new fix.

Urban regeneration as part of the new city marketing or urban image building
Urban competition as a domain of conflict How new? Who is competing with who? Between nations or between city types? International level: world cities with each other? London, New York, Tokyo World city definition: highest level of concentration of corporate headquarters, hence level of control Second order cities with each other: Manchester/Milan/Munich All cities want to be called world cities e.g. Paris, Berlin, Beijing, hence the pressure to avoid a clear definition Emphasis on PR/hype. But images matter to decision-makers

Why Cities?
Policy agenda was driven at this city level rather than by national governments. Culture could provided more possibilities for de-industrialising cities where innovation, entrepreneurialism, and local vision were key. They could contribute to: Employment Image Sense of vibrancy and cultural richness Wider creativity and innovation Role of subsidised art and culture

Analytical or justificatory/symbolic
Knocking down houses and replacing them by new ones, or urban regeneration Urban regeneration has a very strong symbolic element It draws on the ideas of renewal and urban competition It defines itself as something obviously good and therefore discourages critical analysis It is a symbol in shaping elite and public perceptions of change Urban regeneration is part of a justificatory discourse

Urban regeneration: a concept with many meanings

1. For the existing population, or for a new population (Displacement of existing population by new one) Urban regeneration as a euphemism for gentrification? 2. Replace old land uses with new 3. Population growth: new population 4. Businesses: more, different kind: science parks, tourism 5. Jobs: more, a different kind (who for? local residents, commuters) 6. Shopping facilities/sports arenas/cultural facilities

Urban regeneration: a concept with many meanings

In this regard cultural institution have been used in order : to further the economic development and the regeneration of its area; to promote business efficiency, investment and competiveness in its area; to promote employment in its area; to enhance the development and application of skills relevant to employment in its area; and to contribute to the achievement of sustainable development where it is relevant to its area to do so

Cultural institutions as tool for planning

To built or represent power (large scale exhibition, large bourgeoisies cultural spaces) (historically) To attract visitors (spend money, do not need many services) To impact on other economic sectors in the UK: 1.5billion/year (taking account of estimated visitors expenditure); major museums employed 9.000 people; 42 millions visitor/years To change city image. (architecture radicalism as a brand logo and as way to play on international mental map) To offer good services (help to perform in international cities ranking) To increase local-pride To hide other local issues To encourage creative industries clustering

A success case: the Bilbao effect

140 member Public-private partnership to revitalise Metropolitan Bilbao Implements the Revitalisation Process Mission: lead the citys vision of success for the next Millennium Value: Aptitude to incite interest and energies of different leaders and institutions through the common project of a metropolis of the future Success: Capacity to convert itself into a meeting point for all sectors, which warrants its ability to unite the public and private forces

A success case: the Bilbao effect

1990s: Metropolitan Bilbao developed a vision of success for the new Millennium: Basque Government Regional Government of Bizkaia City of Bilbao 400 people: public and private sector Revitalisation Plan shapes the new city: services, information and knowledge Regeneration is based on critical

A success Case: The Bilbao Effect

EMBLEMATIC PROJECTS AND INFRASTRUCTURES: Metro Guggenheim Museum Bilbao Euskalduna Conference & Concert Hall Expansion of the port New Airport Terminal Regeneration of the Waterfront: Abandoibarra Water Treatment Scheme

THE GUGGENHEIM EFFECT

From 1997 to 2012 more than 15 milion people visited the Museum.
In 2011, the Museum received 1 million visitors

Endowment of high quality cultural infrastructures = strong magnet for the attraction of visitors to Bilbao and the area CULTURAL TOURISM

The success of cultural districts and the museum boom

A cultural district is commonly defined as a geographical area of a large town or city which acts as a focus for cultural and artistic activities through the presence of a group of buildings devoted to housing a range of such activities, and purpose designed or adapted spaces to create a sense of identity, providing an environment to facilitate and encourage the provision of cultural and artistic services and activities. A cluster of activity & networks embedded in a particular place. A series of associations which can be iconic, but are also spatially embedded social networks. A context for the use of planning and development powers to preserve & encourage cultural production & consumption. Integrated cultural & economic development strategy focused on the

Museum Quartier Wien

MuseumQuartier, a brand name for a physical cluster site, the Imperial Stables Home to 40 cultural organisations, 2 new museums & theatres, a site for creative industries production Located in the historic city centre & developed to provide 2 major museums A link to the Imperial Palace and an old suburb Grand vision for an old city to reassert itself as a major cultural centre in the world A solution to cultural accommodation crises

Museum Quartier Wien

Visionary architectural approach combining graded property with 21st Century architecture Combined & concerted approach to marketing the Museum Quarter for the benefit of individuals A unique centre for creative industries production, Quarter 21, and major cultural icons such as the Leopold Museum Attracts more than 2 million visitors per annum of which 33% are international visitors

Competition between cultural institutions: a broken taboo.

In the last 20 years competition in the cultural sector has become tough and worldwide, for different reasons: EU/Country strategies against deindustrialisation and pro urban renovation The role of culture in urban renovation (Sheffield, Glasgow, Bilbao, Valencia, Lyon, Genoa, Turin) Local processes of gentrification driven by real estate lobbies (artists, avanguard galleries, restaurants, shops, trendy professionals....) Impact of low fares companies (i.e. Ryan effect) Increasing number of competitors

Giants and pigmeos: the growing distance between competitors

1990 Guggenheim Bilbao 250 ME

2000 Museuminsel - Berlin (1M)

2005 Museum Quartier - Wien (2M) 2008 Saadyat Island AbuDhabi (21 Billion UsD)

2012 M+ Cultural District Hong Kong (2 B UsD)

A matter of size: millions of visitors Franchised Museums and brand extension strategies Guggenheim (Las Vegas, Rio with Jean Nouvel) M&A: MOMA/PS1

Struggling for primacy

Istitution Castello di Rivoli (2006) Mart (2004) Maxxi (2013) Centre Pompidou (2006) Louvre (2005) Londra National Gallery (2005)

Visitors 103.000 193.000 250.000 5.340.000 7.551.000 3.953.000

budget / ME 5,5 11 12,3 110 180 43

Employees 55 104 35 + esterni 1.026 1.500 432

British Museum (2006)

Victoria and Albert Museum (2005) Tate Gallery (2006) Guggenheim Museum (2004) Moma (2006) Metropolitan Musem NY (2006) Getty Center + Museum (2004)

4.485.000
2.471.600 6.412.000 3.500.000 2.470.000 4.570.000 1.300.000

51
89 109 40 111 219 264

1.136
965 1.157 744 834 1.800 1.500

Smithsonian Institution (2005)

24.000.000

760

4.560

13

Giants and pigmeos: the growing distance between competitors 2

Local Subsidiaries: Louvre at Lens Alliances: The Hermitage spill-over, UBS-Moma Financial resources: the last fundraising campaing launched by the MET collected 1,3 B$ in two years

The endowment of the Getty Institute is 3BnUsD, MET 5 BnUsD

Entrepreneurial attitudes

The discovery of branding: the Met Franchising Plan

IKEA docet: the new philosophy of Museum store management Conquering external spaces: Rijkmuseum at Schipnol, BM temporary shops during Christmas holidays Exploiting venues, exploring opening hours Aggressive licensing: V&A, Guggenheim

Beyond first copy economics: SITES and CEE

Following the Estates Editorial products: becoming publisher Prado and BM

To the franchised museum

Guggenheim Several branches Spectacular architecture with worldwide famous signature Even some exhibitions are market-oriented Reaccessioning as a way of collection management

To the franchised museum

Guggenheims 1959: New York (Franck Lloyd Wright) 1976: Venice (Peggy Guggenheim collection) 1992: Soho (closed in 2001) 1997: Bilbao (Frank Gehry) 1997: Berlin (joint venture with Deutche Bank) 2001: Las Vegas (Rem Khoolas, in the Venetian Hotel, in partnership with Hermitage Museum) 2008: Abu Dhabi (Emirates, Gehry) and Vilnius (Litvia, Hadid) Every city wanted a Guggenheim.

Museums Island Abu Dhabi

Several cultural institutions created by worldwide famous architects (objective: 2018): Guggenheim (Franck Gehry) Louvre (Jean Nouvel) Maritime Museum (Tadao Ando) National Museum Performing art centre (Zaha Hadid)

Universal

museum Louvre Abu Dhabi

Agreement between Emirates and French government Involved all the muses de France collections and expertise that might be lease during the 30 years contracts to the Abu Dhabi museum Universal museum: mutual understanding between cultures 1 billion euros over 30 years (not included construction costs) Objective: 2012: 24000m Creation of the Agence internationale des muses de France (French public agency) that will provide museum expertise Over 10 first years of opening, Frances museums will loans artwork. At the same time, Agence provide expertise to Emirates to buy a create its own collection The largest cultural controversial of the decade.

Culture and museums as a branding tool

More than a museums franchise strategy, the Abu Dhabi case reveals that museums are becoming a tool for national branding strategies : it is a part of a new Frances branding strategy , mostly based on culture [rapport Levy] (As it used to be here, 10 years ago, when the UK was rebranding as Cool Britania)

In Abu Dhabi, not only Louvre, but also Sorbonne (opened in 2006)
It is also a part of a wider trade contract with Emirates and a relevant part of the diplomatic strategy in the middle east

The limits of the leisure city

Is it possible to plan a regeneration project without a cultural feature? Is there an alternative to culture ? Could planners imagine a no-culture urban project? What are the effect of the marketing diktat in urban planning practices? Could a citys economic activity focus only on leisure? Is the entertainment city a sustainable city? If we consider that creativity matters, does large scale amenities really improve creative atmosphere and cultural production? Are these amenities efficient for cultural policies? What about cultural education ? Support to artists and cultural production

Risks and questions

First-come effect: Is it still relevant to use culture as a distinctive planning tool while every city has similar strategies? Is it possible to copy the same scheme in different contexts? (scheme of strategies that have been successful in one city). Could culture be the solution to every urban problem? Problem: No comment about failures, only about (few) success stories. Does not help to assess! Effects on land prices. May lead to gentrification (or is it one of the unsaid objective?) Pride: It depends. Parisian examples: Pompidou centre is still consider by some as a sin. National Library and Bastille opera: general disagreement Do these strategies really support creation and artistic production or is it only consumption oriented? Museum in planning project: public good or money maker?