UDT Final a4 Full Bleed.

7/29/2019 UDT Final a4 Full Bleed.

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URBANDESIGN THEORY

Jonathan Ballard_4119621Eleanor Connolly_4118571

Cameron Worboys_4105633

/ Group Assignment Option.1

/ K13 UDT

THE LACE MARKET AS

A CREATIVE CLUSTER



the lace market as a creative cluster 10



CONTENTS

IntroductionDiversity & Density Mix

Character

Movement, Structure & Legibility

Adaptability

Refection & Conclusions




Nottingham is clearly a place for innovativebusinesses and individuals to thrive.(The Nottingham Plan, 2012)



Introduction

“Urban design is the art of making places for people.

It concerns the connections

between people and places,

movement and urban form,

nature and the built fabric,

and the processes for ensuring

successful villages, towns and

cities.”(DETR & CABE, 2000)

This analytical assignment

explores the Lace Market, Nottingham, as a creative

cluster in relation to ‘good

urban design’ as dened in the

DETR and CABE requirements.

The process adopts a six stage

strategy, focusing around

comprehensive research into

creative clusters, eldwork

inquiry, mapping investigations,

conceptual abstractions and visual reections. Studied over

six chapters this essay critically

evaluates the Lace Market as

an established and growing

creative cluster. Concluding

with reection on the strategic

ways to reinforce and develop

its ambition to become a

agship cluster for the UK.




Creativity is at the heart of British

culture, a distinct feature of our

national identity accounting for 7.3% of the UK’s economy.

“Creativity brings about something

that is genuinely new and

worthwhile enough to be added

to culture.” (Franke & Verhagen,

2006). Thus, a creative cluster

can be dened as a mediating

place bringing a diverse group

of industries together. “Creative

industries have a manifold

relationship with locationalagglomerations.”(Jakob, 2007)

They form a cluster of connections

informed by a unique image

and sense of expression. This

in turn sparks local innovative

skill through a “synergetic and

collective learning processes.”

(Jakob, 2007)




Urban Planning for Creative Clusters

Character – “A place with its ownidentity”

The locally distinct character of

the Lace Market is an eclectic mix

of styles that make up its unique

character. The streets are formed

from ne Georgian houses to the

Victorian warehouses of Lace.

This aesthetic has been delicately

retained as the creative zone has

developed.

Quality of the Public Realm – “A place with attractive and

successful outdoor areas”

Lace Market Square provides an

example of uncluttered, attractive

green space within the creative

urban environment. It forms a

community, encouraging public

interaction and networking

between industries and the general

public.

Ease of Movement – “A place

that is easy to get to and move

through” Legibility – “A place that has a clear image and is easy to

understand”

Transitional spaces within the

Lace Market are clearly dened

through transport links and

pedestrian movement, but also

landmarks such as the Nottingham

Contemporary.

Continuity and Enclosure – “A

place where public and private

spaces are clearly distinguished”This recognises that every building

is part of a greater whole. The

creative quarter of the Lace

Market denes transparent

boundaries, from the lines of

bespoke fashion shops to the

private ofce warehouses along the

original building line.

By Design: Urban design in the

planning system: towards better

practice

(DERT, 2000) PPG1 Planning Policy

Guidance 1: General Policy and

Principles




Diversity – “A Place with Varietyand Choice”

Diversity refers to the wide range

of creative industries and uses,

establishing a vibrant exciting

community to live, work and play

=in. Industry is able to interpret

different areas of the Lace Market

individually or collectively,

creating a 24 hour urban

environment.

Adaptability – “A place that can

change easily”

The existence of cheap versatilespaces provided by history erects a

canvas for the creative industry to

adopt. A broad range of functions

are present from technological to

social, economic and educational.

A dominant physical fabric is

embedded unchanged by evolving

patterns of human life.




Examples of Creative Clusters

“The term ‘creative industries’originated in the mid-to-late

1990s and was rst taken

up at a national level by the

UK’s government.” (BOP

Consulting: British Council,

2010). Key studies into these

agglomerations in the UK

include, Making Space for

Dalston and Bankside Urban

Forest.

Making Space for DalSon

(J&l gibbonS, 2009)

This scheme’s incentive was

“seeking to nurture Dalston’s

inherent creativity and

diversity.” (J&L Gibbons,

2009) Through the use of

intense observations and

analysis on a ground level with

the local community. “The brief highlighted the opportunity

for a linked approach to the

public realm and cultural

initiatives to be consolidated as

a deliverable programme and

action plan.” (J&L Gibbons,

2009) It identied Dalston’s

social, cultural and physical

attributes, in a three-part

methodology. 1.) Value what is

there 2.) Nurture the possible

3.) Dene what is missing.bankSiDe Urban park

(WitherforD WatSon Mann

architectS, 2007)

In response to the mayor of

London’s ‘urban renaissance’

the public space strategy

creates a new ‘urban forest.’

This highlighted a ve-point proposal. 1.) Increasing the

opportunities for ‘sharing.’

2.) Urban Forest of this

distinctive area of London.

3.) Evolutionary change takes

place. 4.) Ecological approach

to urban regeneration. “The

Bankside Urban Forest

framework sets out a strategy

for the long term regeneration

of the public realm through

an evolving process, whichneeds to be endorsed and

owned by the local community

and committed stakeholders.”

(Witherford Watson Mann

Architects, 2007). These

projects aided us in our

methodological approach.




Bankside Urban Forest, England(Witherford Watson Mann architects)




The History of the Lace Market

The history of lace has shaped the

character and form of Nottingham

City Centre. “The city has the physical remains of two ancient

settlements which were sited on

the defensive sandstone spur” (J.

C. Moughtin, 2003). To the east of

the city centre lies a former Saxon

settlement, sited on the area now

known as the Lace Market.” The

original routes into the city from

London wound up the hill, centring

themselves around this cluster

with the oldest streets runningeast/west across roads such as

Goose Gate and Middle Pavement.

“Nottingham was home to 10,000

people in 1740 but grew with

the arrival of the lace industry”

increasing to a “population of

60,000 by 1840.” (Nottingham City

Urban Guide, 2009) Consequently,

what started as a small domestic

trade in Nottingham expanded with

the evolution of mass-producingmachinery. During this period

there was an urgent need for larger

warehouses and housing. These

warehouses were abandoned with

the decline of the lace industry,

providing the platform for new

creative industry shaped by this

renaissance.




Creativity is unique, because it comes from people...

a quintessentially human characteristic.(Franke & Verhagen, 2006)



diversity & density mix

Working alongside the readingsof Richard Florida this

chapter assesses the extent of

Nottingham’s creative diversity

and density mix. This mix

refers to the accumulation of

contrasting and co-operating

creative industries forming

a high quality specialised

network. “Some creative

businesses ourish particularlywell when they form clusters”

(BERR, 2008). This web of

innovation within a given

location was formerly referred

to as a knowledge spillover.

Our analysis in this section

uses the adopted NESTA

categories to produce maps

displaying urban land use and

functionality. Expanding onthese maps to form diagrams

analysing variables within land

use such as footfall hierachies

and transitional time periods

between the day and night.

Dissection of this information

will provide conclusive

evidence of the areas attractive

diversity and density mix.




Architecture

Arts & Antiques

Designer Fashion

Film & PhotographyDesign & Advertising




Nesta Creative Sectors

NESTA (The National Endowment for Science, Technology and

the Arts), is regarded as one of the most ambitious organisations

aiming to map the UK’s creative clusters. Research includesshowing where they are located, the formation of sectors and what

their role is in the process innovative development. The benets of

industrial clustering have long been identied giving businesses

access to skilled staff, shared services, and the opportunity to

capture valuable knowledge spillovers. NESTA identied twelve

creative groups, of which eight were adapted to create sectors

applicable to creative clusters within the Lace Market.

Musical & Visual Art

Digital & Publishing

Education




Since the 1990’s Nottingham City Council have been focussing onthe Lace Market as a target zone for regeneration, centred around

a hub of niche activity comprising of “200 micro-businesses.”

(Shorthouse, 2004). Unlike many current sectors of the British

economy, the creative strand lives and thrives off itself rejecting

isolated working conditions. “They don’t want to work on an

industrial estate; they want to be somewhere that has interesting

gigs on a tuesday night, a stand-up club on wednesday, a thriving

arts scene, and all that stuff. We want the Lace Market to be that

place.” (Nottingham Culture, 2012) The cluster lends itself to

these conditions with a diverse collection of cultured settings,

shops, theatres and venues all set within close proximity of each

other.

The adjacent map displays the clusters immediate location within

the centre of Nottingham. This siting provides ease of access to the

cultural centre and venues such Nottingham Contemporary (top

right), while enhancing the cities vibrancy and diversity locally

and as a whole. “The most beautiful city in the world is nothing if

it’s streets don’t throng with life and its building glow with activity.

(Nottingham City Council, 2009).

Creative Industry in Nottingham




Lace Market

Central Nottingham

City Sprawl

Fig 2.1




Occupational Land Use

Advertising & Design

Architecture

Arts & Antiques

Fashion

Photo

Music visual arts

Digital & PublishingCaes

Education

Bars, restaurants

Non creative

Fig 2.2

From the adjacent map we deciphered two predominant territories

(Zone A & B). Subsequent to the close proximity of Market Square

on the North side, footfall is greater in this area (Zone A, Fig 2.3).

The streetscape hierarchy produces higher volumes of pedestrian

circulation with resultant public exposure along main routes. It isthis factor that allows sectors such as designer fashion, music &

visual arts, photography, arts & antique shops to thrive. Zone B

however, is located to the South where accessibility is limited and

legibility is reduced (a concept discussed later). These spaces are

better suited to less exposed daytime ofce and non retail sectors

such as advertising, architecture, education and publishing with a

declined ‘non-purpose’ visitor footfall percentage.




Predominant Land Use & Footfall

As for bars, restaurants and nightclubs, these fall within the middle of the two zones,

possessing attributes that place them in neither category. Their sporadic situation provides

evidence for their independence from conventional daytime circulation routes with smallindependent clusters appearing throughout the map. An overview of the land-use in the

area helps gauge the broad mix of activities that take place and indicates how particular

pedestrian inhabitants might inhabit the public spaces at different time” (M.J.Stern &

S.C.Seifert, 2007). Cafes although sporadic also appear in areas of high creative density,

supporting the ‘networking’ culture. “Often people with various interests and skills from

various art forms, will come together simply to bounce ideas off each other, to learn from

each other and trade favours.” (Shorthose 2004)

Zone A Zone B

Fig 2.3




A Creative Diversity

Flyers demonstrate anassortment of activities. In

recent years the cultural

vibrancy has grown and “it

is clear that the creative

community that inhabits the

Lace Market represents a large

pool of creative talent across

all the arts forms.” (Shorthose,

2004)

Dance 4, Lace Market Theatre,

Cow Vintage and Nottingham

Contemporary, emphasise theheterogeneity that captures

and augments the formation

of knowledge spillovers

“providing a limitless supply

of new ideas for potential

products across a range of

industries.” (Bagwell, 2008)




Bars & Nightclubs

Restaurants

Pubs

Cafes

Retail Industries

Non Retail Industries

Fig 2.4




There is a “pronounced

shift in the Lace Market area

from being a largely daytimeeconomy to a night-time

economy.” (Shorthose, 2004).

Analysis of this transition

introduces the variable of

time; assessing predominant

industries (Fig 2.4) and their

urban pattern (Fig 2.5). As

previously mentioned, the map

adjacent reveals the sporadic

nature of night sites formingsmall connecting clusters; with

probable economic benets.

Daytime economies appear

to be reliant on streetscape

hierachy with many siting in

areas of high public exposure -

predominantly retail based.

The Day & Night Economy

Night economy

Daytime economy

Hybrid day/night economy

Fig 2.5



Each one of us is an historical being, heldin a pattern created by Time.(JH Plumb)



Character [continuity & enclosure]

“Historic culturalenvironments are made up of

more than bricks and mortar,

they are also made up of layer

upon layer of human activity.”

(Ferris, 2000). Ferris suggests

that continuity exists through

the recognition that every

building is part of a greater

whole. This ‘greater whole’

represents not only the built structure but the provision of

green corridors and public

space between the building

fabric (enclosure). A sensitively

designed cultural environment

must respond to the needs

projected by the arrangement

of local economic, social and

cultural life.

The focus of this section istherefore exploring what

forms continuity of building

heritage, character in

townscape & landscape and

cultural association, through

the use of creative mapping,

photographic invesitgations

and eld studies.




The past two decades have seen important shifts in cultural

sensitivity when approaching urban planning. Historic

environments have now become common ground for an

associative connection to popular culture and history. Successful planning requires developers to “claim the entire urban cultural

landscape as an important part of history not just its architectural

monuments” (Ferris, 2000). This approach is illustrated in Fig 3.1

through the dominance of old and renovated buildings projecting

outwards from the once industrial core of the Lace Market.

Alongside this Fig. 3.1 also highlights the inux of new builds on

the fringe of the existing infrastructure.

Building Heritage Composition

Old

Rennovation

New

Fig 3.1




Conceptual Character Photomontage




Surveys were sent to a diverse selection of businesses in order to

distinguish the importance of locational attributes in the cluster.

Out of the thirty six replies, over 80% agreed or strongly agreed

that working in the Lace Market is crucial for their business,

with 40% agreeing or strongly agreeing that the heritage and

character plays an important part. Similarly, many agreed that

the Lace Market is friendly social and desirable, with a small

number disagreeing - potentially those who have fallen victim

to the negative impacts of the night economy on their daytime

businesses. Over 60% agreed or strongly agreed that their

cluster location was benecial for networking, with the other

40% potentially reaping the benets of internet communications

- providing a new means of creative networking virtually rather

than physically.

Interviews with Industry




Bars & Nightclubs

Restaurants

Bars & Nightclubs

Restaurants

Pubs

Caes

Retail Industries

Non Retail Industries

1-5

5-10

10-15

15-20

20-25

25+

Strongly Agree

Agree

Neutral

Disagree

Strongly Disagree

Strongly Agree

Agree

Neutral

Disagree

Strongly Disagree

Strongly Agree

Agree

Neutral

Disagree

Strongly Disagree

Strongly Agree

Agree

Neutral

Disagree

Strongly Disagree

Which ‘Creative Industry’ would you classiy yourbusiness as?

Please could you state how many people work oryour company.

The Lace Market location is crucial or your

business?

The attractiveness o the Heritage & Character o the Lace Market is important or your business.

The Lace Market is riendly, social & a desirableplace to work.

The Lace Market location is important or meeting andnetworking with suppliers, collaborators & competitors

Fig 3.2




“The creative city is an open

city.” (Franke & Verhagen,

2006) These places mediatebetween urban and green

landscapes with extensive tree

planting, quiet gardens and

public space. This sustainable

approach in turn “develops

‘signature places’.” (Jakob,

2007) creating a relaxed and

comfortable environment for

people to visit, work and live.

Urban development should

embrace opportunities for tree

planting within the city withnew and improved streets and

public spaces.“Nottingham is

a green city particularly in the

ring just outside the original

Medieval city.” (Nottingham

City Council, 2009) - where the

Lace Market resides.

Open & Green Space Siting

Fig 3.3




Conceptual Culture Collage



A lively, bustling place that draws peoplefrom throughout the region to shop,work, socialise & learn.(Nottingham City Council)



Movement structure & Legibility

“The development of creative

clusters will help to bring the

creative industries in from

the margins to the heart of

the economy.” (BERR, 2008)

This section correlates ease

of movement with legibility

in order to assess the

consequential benets. The

concept that “streets are more

than just trafc channels for

vehicles, and should offer a

safe and attractive environment

for all.” (DERT, 2000) is an

essential attribute for good

urban design. Furthermore,

these routes should be visible

and contribute to making a

unique sense of place. Through

extensive mapping at macro

and micro scales we analyse

the success of the Lace Market

cluster. Within the cluster

individual divisions are studied

deciphering this complex spatial

relationship. “This emphasizes

the importance of location and

inter-rm linkages...particularly

important in the context of

cities.” (Bagwell, 2008).




Circulation & Accessibility

Nottingham has long beencommended for its efcient

public transport system. The

network provides access to

the city centre from suburban

locations via trains, busses and

trams (g 4.1) with the tram

being noted as “a great success

since the rst line opened

in 2004.” (The Nottingham

Plan, 2012). Internally this

integrated transport system

links via bus stations to thesouth, bus stops to the north

west and vehicle access via

converging out of town roads

(g 4.1). Zoned pedestrianised

areas provide a variety of street

styles while creating a safe

and social environment to link

the Lace Market and Market Square (g. 4.4). These routes

reect good urban design

qualities, not merely spatial

transitions. It is these qualities

that not only attract people

to visit the Lace Market but

an environment for living and

working. “The city’s...central

location, excellent transport

links, universities and excellent

quality of life -have encouraged

many talented people to Nottingham.” (The Nottingham

Plan, 2012).

Nottingham City Centre

Lace Market

Bus/Train Station

Bus Stop

Routes into Nottingham

Fig 4.1




T o

T r

a i

n

S t a

t i o n

To Mark e t S q.

Tram Line

Tram Stop

Pavements & Pedestrian Routes

Pedestrianised Zones

Car Routes

Car Park

Fig 4.2 Fig 4.3 Fig 4.4




Legibility is the concept of human understanding and natural

waynding with the brain assessing “where people are, things of

interest, noise levels, presence of vehicles, what can be seen ahead

and so forth.” (Witherford Watson Mann Architects 2007). In the

survey eighty people agreed that the Lace Market was accessible.

Despite this result (taken in Zone A, Fig2.3) some areas of the Lace Market (particularly Zone B) may be difcult for some to

navigate. However it could be argued that“some places draw their

charm from their lack of clear routes.” (DERT, 2000). Transport

results highlighted the success of the bus network while cycle

routes could be improved in the area to offset some car visitors.

Travel Connection Interviews




0

5

10

15

20

25

30

35

0

10

20

30

40

50

60

70

80

How did you travel here today?

Fig 4.5 Fig 4.6

Do you fnd the Lace Market area easily accessiblerom the Market Square city centre?




Cluster Structure & Connection

“Location matters. Interaction

can either support or constrain

the development of the

creative industries.” (BERR,

2008) This relationship

between positioning and

intercommunication is crucial

to the development of the

Lace Market as a creative

agglomeration. “The arts are

no longer just about going to

the symphony or a Broadway

musical. They are more active

and more accessible, ” (M. J.Stern and S. C. Seifert, 2007).

Clustering not only creates

increased accessibility but

leads “to advantages for both

rms and the regions, including

increased competitiveness,

new rm formation, growth,

protability, job growth and

innovation.” (Bagwell, 2008).

Fig 4.7 highlights the divisions

of each identied cluster,

illustrating each industries

interpersonal relationships.

Patterns shown by sectors

such as designer fashion and

art & antiques coherently

illutrates the benets of a tight

knit network centred around

a high foot fall street axis.

The benets clustering are further backed up by evidence

shown in Fig.3.2 (Surveys with

industry). In contrast industries

like architecture show sporadic

placement inuenced by their

withdrawn public exposure.

A d v e r t i s i n g & D e s i g n

A r c h i t e c t u r e

A r t s & A n t i q u e s

D e s i g n e r F a s h i o n

P h o t o g r a p h y & F i l m

M u s i c V i s u a l & A r t s

B a r s & R e s t a u r a n t s

E d u c a t i o n

Fig 4.7




Nottingham already has in place theelements required for this manufacturingrenaissance.(The Nottingham Plan)



Adaptability

Once a world leader in the lace

industry, the Lace Market’s

large warehouses and factories

stood “as a showcase of

industrial pride” (Ferris,

2000). With the decline of

industry came the necessity

for adaptation to re-imagine

these once highly legible forms.

Fortunately by the late 1960’s

these victorian spaces were

“seen as having historical

architectural signicance”.

(Ferris, 2000). In the 1970’s

the Lace Market was declared

to be an industrial improvement

area with a new strategy aimed

at internally reconstructing the

large spaces, preserving the

external facades. The relatively

low cost of these buildings

made it ideal for artistic

residents; allowing them to

interpret the space in their own

manner. This section explores

in detail adaptability, from the

functional changes in industry

to the introduction of education

as a driving tool for longevity

of the creative cluster.




1968 ~

RENOVATION

1960 - 2013

INTERNET

1960 - 2013

COMPUTERS

1990 - 2013

SOFTWARE

1990 - 2013

HOUSING

1960 - 2013

ART CULTURE

1960 - 2013

ARTIST STUDIO

1960 - 2013

DECLINE

1800 ~

1960 - 2013

INDUSTRY

1960 - 2013

ABANDONMENT

Technological Adaptability

“Old industrial sites provide

the infrastructure that is

required for new cultural

ideas, new technological

ideas, new economic ideas

and the interplay of those.”

(Franke & Verhagen, 2006). It

is this technological concept

of adaptability within the

Lace Market, which strongly

contributes to new innovative

industries. “Cultural resources

are raw materials of the

city.” (Franke & Verhagen,

2006) This holistic concept

represents a strength in

every weakness. “Creativity

is not just something new,

but also dealing with what

already exists in a different

way.”(Franke & Verhagen,

2006) The survival of this long-

established industrial district

is reected in “production

techniques and technology, as

well as markets and cultural

development in both design and

consumption/ fashion.” (G. L.

Evans, 2009)




This quarter-mile square protected heritage area of

Nottingham has undergone a

transformation over the past

two decades. “The physical

core of the Lace Market was

and is represented by a number

of large & distinctive industrial

buildings that had been

developed in the nineteenth

century for the purposes of

producing and distributing lace

for national and international

markets.” (Ferris, 2000)

After the lace decline in the

early twentieth century these

traditional world-renowned

industries disappeared leaving

their infrastructure behind.

The 1970’s marked their

revival, with a “new planningstrategy aimed at internally

reconstructing the buildings

whilst preserving the external

facades.” (Ferris, 2000)

However, still for years the Lace

Market remained “one of those

‘lost spaces’ (Tranick 1986)

crying out for re-development.”

(Shorthose, 2004). In the past

twenty years there have been

bustling partnerships constantly

investigating the Lace Markets

prospects. Today, there is an

intertwining of tradition and

modernity with the “important

Victorian architectural heritage

buildings... preserved and

nding a new lease of life.”

(Ferris, 2000) Unlike previous

years when autonomous artistsoccupied these cheaply rented

warehouse. The Lace Market

has morphed into an up and

coming exclusive area to

live, work and play. “The old

warehouse which were once

independent studio spaces

are currently being turned

into expensive ‘loft living’

residences.” (Shorthose, 2004)

This reects the economic

adaptability and transition

within the area. The industrial

shell allows a dynamic multi

layering of functionality over 5

storeys enhancing “the feeling

of a creative community and

shared sense of ownership

of the area.” (Shorthose,

2004) However, to continue prospering, the Lace Market

needs to retain this diversity

and adaptation. “One of the

reasons why the Lace Market

has been successfully protected

is because the various agencies

were pragmatic and responsive

to change.” (Ferris, 2000)

Thus, the future lies in the

capacity of these spaces and

the level of further adaptation

they can sustain following

intial development. “from

pre-industrial artist and

crafts-based communities,

to contemporary cultural

industries quarters in “post-

industrial” cities.” (G. L.

Evans, 2009)

The Creative Cluster of Industry



Crea-

t iv e. A rt . F as hi on .

Design. Architecture.Innovation.

Photo.Video. Advertising. Performance.Dance.Painting.Studio.Meeting.Sharing.Idea.

Images.Composition. Material.Inspiration. Film.Writing.

Mus ic . Wat ch . Learn . Progr ess. Col ou r. L ight . D ar k. T al k.

Communicate. Transfer. Thoughts.Develop. Eat.Drink. Enterprise.Business.

Shop.Work. Live.Play. Fulll. Compose.Think. Layout. Culture.Creative. Art. Fashion.Design. Architecture.Innovation. Photo.Video. Advertising. Performance. Dance. Painting.Studio.

Meeting.Sharing. Idea.Images. Composition.Material. Inspiration.Film. Writing.Music. Watch.Learn.

Progress.Colour.Light. Dark.Talk.Communicate.Transfer.Thoughts.Develop.Eat. Drink.Enterprise.

Business. Shop.Work.Live.Play. Fulll.Compose.Think.Layout.Culture. Creative.Art. Fashion. Design.

Architecture.Innovation. Photo.Video.Advertising. Performance. Dance. Painting.Studio.Meeting.Sharing.Idea.Images. Composition.Material. Inspiration.Film. Writing.Music. Watch.Learn. Progress.Colour.Light.

Dark.Talk.Communicate.Transfer.Thoughts.Develop.Eat. Drink.Enterprise.Business.Shop.Work.

Live.Play.Fulll.Compose.Think.Layout.Culture.Creative.Art.Fashion.Design.Architecture.

Innovation.Photo. Video.Advertising. Performance.Dance. Painting.Studio. Meeting.

Sharing. Idea.Images. Composition. Material.Inspiration. Film.Writing.Music. Watch. Learn. Progress. Colour. Light . Dark. Talk.

Communicate. Transfer. Thoughts. Develop. Eat.

Drink.Enterprise.Business.Shop.Work.

Live . Play. Full l. Compose. Think. Layout. Culture.

N o t t i n g

h a m U n

i v e r s i

t y C a m p u

s


Fig 5.1




“Nottingham has one of the youngest populations of any city in

the UK. Two out of ve residents are under 24.” (The NottinghamPlan, 2012). This, coupled with the large number of educational

institutions and two universities, provides a promising future for

the creative industries with an emerging forthcoming workforce.

However, despite the range of creative courses available to

students across the UK, “it is important to ensure that the local

industries engage more actively with the universities to harness

research outputs that might enhance their productivity and

innovative performance.” (G.L. Evans 2009). This improved

connection will develop the transition from education to work. Not

only this but introductions to the creative industry are planned

with “industries providing up to 5000 formal apprenticeships a year.” (BERR, 2008) in the creative sector by 2013.

Social Education for Future Adaptability

Non Educational Establishments

Lace Market

Education Establishments

Fig 5.2



Creativity brings about something that isgenuinely new and worthwhile enough tobe added to culture…(Franke & Verhagen, 2006)



REFLECTION & CONCLUSIONS

The conglomeration of

research, theories and analytical interpretation

has assured us of the Lace

Market’s ‘creative cluster’

identity. Exploration aided

by NESTA categories has

allowed us to ascertain the

cluster’s ‘good urban design

attributes’ certifying the centre

as indeed, a commendable

example of urban design.Upon initial exploration, the

area expressed a colourful

and vibrant diversity of

functional uses, planned to

suit the creative population.

Variables enhance this mix

with alterations in usage,

time, function and connectivity

inuencing the sectors place

within this ‘frozen’ historicbuilt environment. The adapted

centre has endorsed new

functional use supported by

a successful city network of

route hierarchies and transport

links within the local area, this

planned approach contrasts to

the prior natural formation.




“To prosper Nottingham needs

to diversify. It needs to readjust the balance of its economy and

reconnect with its historical roots

as a centre for manufacturing

excellence and enterprise.” (The

Nottingham Plan) This citywide

insight highlights the importance

of the Lace Market as a centre

for providing this diversity and

historical rooting by “urban

regeneration through cultural

development (Rogers 1997,

2001) The cultural centre forms a

large proportion of Nottingham’seconomic future with the area

lending itself to use by creative

industries, being supported by

education, knowledge, historic

and transport layers. This

previous “organic growth of the

Lace Market as a cultural quarter

came about through a process

that was informal, unstructured and D-l-Y.” (Shorthose, 2004)

This method of creative growth

must now be approached by

governmental interference.

“Now is the time to recognise

the growing success story that is

Britain’s creative economy and

build on it.” (BERR, 2008)

“In the coming years, the creative

industries will be important not

only for our national prosperity

but for Britain’s ability to put

culture and creativity at the centreof our national life.” (BERR,

2008) It is this reliance that will

encourage the area to grow and

prosper, while raising issues

based on the depth and capacity

of its growth potential. Having

saturated the Lace Market built

environment with growth rates

“twice as fast as the rest of theeconomy.” (BERR, 2008) The

question is posed, what next?

Through our research and

analysis we came to the

conclusion that for the Lace

Market as a creative cluster

to continue growth it needs

“industry that generate long-

term wealth, that not only

bind new people to the city but

encourage kids to get into those

industries.” (Nottingham Culture,

2012). Consequently, youth willencourage the cluster to further

evolve over time. It is apparent

that the future of the Lace Markets

creative existence lies within

education and enterprise. The

Nottingham Plan highlights a

“growth by focusing on three

key areas.” 1.) Fostering

enterprise, 2.) Developing askilled workforce, 3.) Building a

21st century infrastructure. (The

Nottingham Plan, 2012) One such

project is ‘Made in Nottingham’,

a campaign “encouraging

Nottingham-based companies

to use the ‘Made in Nottingham’

brand when selling their products

domestically and internationally.”

(The Nottingham Plan, 2012)

Reecting the heritage of

manufacture, and need for

continuity and diversify. The youthof Nottingham need to become

involved in such projects because

“they are powerful ambassadors

for the city and great role

models for the next generation of

entrepreneurs.” (The Nottingham

Plan, 2012)

The Lace Market as a Creative Cluster




Bagwell, S. (2008), Creative Industries Journal Volume 1 Number 1: Creative Clusters and City Growth, London Metropolitan University, Ladbroke House, London.

BERR (2008), Department for Business Enterprise and Regulatory Reform: Creative Britain New Talents for the New Economy. (http://www.ipo.gov.uk)

BOP Consulting: British Council (2010), Creative and Cultural Economy Series 2 Mapping the Creative Industries: A Toolkit, The British Council, London. (http://www.bop.co.uk)

DERT (2000), By Design: Urban Design in the Planning System: Towards Better Practice, Department of the Environment, Transport and the Regions, Bressenden Place, London. (http://www.detr.gov.uk)

Evans, G. L. (2009), From Cultural Quarters to Creative Clusters – Creative Spaces in the New City Economy.

Ferris, J. (2000), Conservation and Regeneration in the Nottingham Lace Market, Institute of Modern Cultural Studies. University of Nottingham, UK. (http://www.arcchip.cz/w02/w02_ferris.pdf)

Franke, S. & Verhagen, E. (2006), Creativity and the City: How Creative Economy changes the City, NAi Publishers, Rotterdam.

Jakob, D. (2007), Confronting Strategies in Urban Reinvention: The Urban Reinventors :: #1 Issue - June 07., Intra-metropolitan Creative Industries Clusters: A Different Way of Looking at Agglomeration Dynamics

in New York City, Center for Metropolitan Studies, Ernst-Reuter-Platz, Berlin, Germany.

J&L Gibbons LLP. (2009), Making Space for Dalson, muf architecture/art, Borough of Hackney, London.

Moughtin, J. C. (2003), Urban Design: Method and Techniques, Architectural Press, London.

NESTA (2010), The National Endowment for Science, Technology and the Arts: Creative Clusters and Innovation: Putting Creativity on the Map, Published: November 2010. (http://www.nesta.org.uk)

Nottingham City Centre Urban Design Guide (2009), Produced for Nottingham City Council and Nottingham, Regeneration Ltd. URBED., Manchester.(http://www.nottinghamcity.gov.uk)

PPG1 Planning Policy Guidance 1: General Policy and Principles (2001)

Shorthose, J. (2004), Nottingham’s de facto Cultural Quarter: The Lace Market, Independents and a Convivial Ecology, First published in Cities of Quarters: Urban Villages in the Contemporary City. M. Jayne and

D. Bell, Ashgate Publications, London.

Stern, M. J. & Seifert S. C. (2007), Natural Cultural Districts, Creativity & Change: A collaboration of the Social Impact of the Arts Project,The Reinvestment Fund, Philadelphia PA, USA. (ww.sp2.upenn.edu/SIAP)

The Creative Quarter: Nottingham Culture, Article: 16th December 2012. (http://www.leftlion.co.uk/articles.cfm/title/the-creative-quarter/id/5383)

The Nottingham Plan 2012, Made in Nottingham: edited and designed by Bulletin PR. (http://www.nottinghamgrowthplan.com)

The Work Foundation (2007), Staying Ahead: The Economic Performance of the UK’s Creative Industries,

CHAPTER 4: Dening the creative industries, Work Foundation, Department for Culture, Media and Sport, UK.

Witherford Watson Mann Architects (2007), Bankside Urban Forest, London.

Bibliography



/ Group Assignment Opt.1

/ K13 UDT

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THE LACE MARKET ASA CREATIVE CLUSTER

UDT Final a4 Full Bleed.

Documents

Transcript of UDT Final a4 Full Bleed.