Industrial spaces for grassroots creative production: spatial, social and planning facets

Gainza, Xabier

doi:10.1080/09654313.2018.1425377

Cited by 21 publications

(8 citation statements)

References 39 publications

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“…These initiatives tend to be alternative to commercial and more institutionalized cultural circuits in the search for new artistic frontiers and new ways of using artistic practices in relation to the local context and the social and environmental fabric of the city. A limited but growing number of scholars has addressed alternative cultural production according to different analytical perspectives and labeled it in several ways, such as independent creative subcultures (Shaw, 2013), grassroots creative production (Gainza, 2018), spaces of vernacular creativity (Edensor et al, 2009), off-culture venues (Vivant, 2009), scene-based cultural production (Lange and Bürkner, 2013), alternative initiatives (Andres, 2011), and community-based arts institutions (Grodach, 2011).…”

Section: Conceptualizing Urban Alternative Cultural Production As An ...mentioning

confidence: 99%

“…From an empirical viewpoint, using both quantitative and qualitative information of more than 50 cultural and artistic centers, we investigate the organizational, spatial, and relational structure of the alternative cultural production system of Turin, Italy, an industrial city that has experienced in the past two decades a radical urban change based on culture-led development strategies. In this perspective, our work also relates to studies investigating similar phenomena in post-industrial contexts, such as cultural entrepreneurs’ practices in Manchester (Banks et al, 2000), artists workshops in Barcelona industrial neighborhoods’ transformation (Martí-Costa and Miquel, 2012), or grassroots industrial spaces in Bilbao (Gainza, 2018).…”

Section: Introductionmentioning

confidence: 99%

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Urban alternative cultural production in Turin: An ecological community approach

Bertacchini

Pazzola²,

Puletti

2022

European Urban and Regional Studies

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From the ashes of the creative city paradigm, there is a growing awareness of the urban creative economy as an adaptive complex system of intertwined actors and institutions. Yet, especially in the European context, little attention has been given to understanding informal and alternative art spaces and venues that contribute to the vibrancy of the urban cultural scene. Drawing on the emerging creative and cultural ecology literature, the article proposes a conceptual and empirical framework to analyze alternative cultural production as an ecological community. After providing a conceptualization of distinct types of alternative cultural organizations, we investigate the economic, spatial, and relational structure of more than 50 art spaces in Turin, Italy, an industrial city that has experienced a radical urban transformation based on culture-led development strategies. Using both a quantitative and qualitative approach, our findings unveil a distinction between centers pursuing artistic specialization and those more oriented toward aggregating diversified cultural activities. The two types of organizations coexist within the community, but the difference in their mission and operation influences the organizational structure, the involvement in neighborhood revitalization, and features of the local network of collaborations. From a spatial perspective, while the centers tend to cluster in the main peripheral areas of social and urban transformation, the analysis points out possible different locational choices and spatial dynamics for the two types of organizations in distinct areas of commercial and real-estate-led transformation.

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Section: Conceptualizing Urban Alternative Cultural Production As An ...mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Urban alternative cultural production in Turin: An ecological community approach

Bertacchini

Pazzola²,

Puletti

2022

European Urban and Regional Studies

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“…74 The role of public administration is however restricted to activities of ‗supervising and supporting the process.' 75 From this point, the history of the NDSM regeneration is the one of a bottomup regeneration: the Kinetisch Noord raised money in order to submit an entry in the competition, raised a consistent network of people around the initiative and succeed in winning the bid. 76 In the years that followed the community of the NDSM organised in 4 entities: an umbrella organization, the tenants, an external board, and a foundation.…”

Section: Ndsm Wharfmentioning

confidence: 99%

Untitled

2021

AJA

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“…Over time, socio-economic conditions, the mechanisms governing the real estate market, local planning circumstances, and tensions that can arise with the various interested parties-local authorities, property developers, the owners of the plots concerned, neighboring interests-may have an influence on the repurposing of abandoned spaces [46,47]. This being the case, the temporary use of industrial spaces appears to be a more and more frequently adopted approach, as it is regarded as an intermediate step in the process of restoring these sites to economic usefulness [48].…”

Section: Conceptual Backgroundmentioning

confidence: 99%

Temporary Uses of Urban Brownfields for Creative Activities in a Post-Socialist City. Case Study: Timișoara (Romania)

et al. 2020

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The linking (in terms of functional use) of brownfield sites with creative spaces is a frequently encountered phenomenon in western European, post-communist, and industrialized countries in general and is viewed as a way of revitalizing, repurposing, or simply making temporary use of them. It may also be seen in the municipality of Timișoara in Romania, where 12 creative spaces, each involving one or more kinds of functionalities (coworking space, maker space, community space, event space, incubator), are operating on such sites. A content analysis of interviews with those in charge of these 12 creative spaces brought to light, on the one hand, the opportunities represented by the existence of derelict industrial spaces, as represented by their large size, low rents, and innate flexibility, but on the other the reality of a number of long-term constraints on the use of these spaces, given the financial instability of cultural operators, the limited numbers of the public who are interested in creative activities of this kind, and, most seriously, the development pressure exerted by some real-estate developers on derelict industrial spaces.

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Industrial spaces for grassroots creative production: spatial, social and planning facets

Cited by 21 publications

References 39 publications

Urban alternative cultural production in Turin: An ecological community approach

Urban alternative cultural production in Turin: An ecological community approach

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Temporary Uses of Urban Brownfields for Creative Activities in a Post-Socialist City. Case Study: Timișoara (Romania)

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