Urban Design Theory by Cameron Worboys

URBAN DESIGN THEORY THE LACE MARKET AS A CREATIVE CLUSTER

/ Group Assignment Option.1 / K13 UDT

Jonathan Ballard_4119621 Eleanor Connolly_4118571 Cameron Worboys_4105633

the lace market as a creative cluster

CONTENTS Introduction Diversity & Density Mix Character Movement, Structure & Legibility Adaptability Reflection & Conclusions

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

the lace market as a creative cluster

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 defined in the DETR and CABE requirements. The process adopts a six stage strategy, focusing around comprehensive research into creative clusters, fieldwork inquiry, mapping investigations,

conceptual abstractions and visual reflections. Studied over six chapters this essay critically evaluates the Lace Market as an established and growing creative cluster. Concluding with reflection on the strategic ways to reinforce and develop its ambition to become a flagship 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 defined as a mediating place bringing a diverse group the lace market as a creative cluster

of industries together. “Creative industries have a manifold relationship with locational agglomerations.”(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) 3

Urban Planning for Creative Clusters By Design: Urban design in the planning system: towards better practice (DERT, 2000) PPG1 Planning Policy Guidance 1: General Policy and Principles

the lace market as a creative cluster

Character – “A place with its own identity” 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 fine 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.

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 defines transparent boundaries, from the lines of bespoke fashion shops to the private office warehouses along the original building line.

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 defined through transport links and pedestrian movement, but also landmarks such as the Nottingham Contemporary. 5

Diversity – “A Place with Variety and 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 versatile spaces 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. the lace market as a creative cluster

Examples of Creative Clusters

“The term ‘creative industries’ originated in the mid-to-late 1990s and was first 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 lace market as a creative cluster

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 identified Dalston’s social, cultural and physical attributes, in a three-part methodology. 1.) Value what is there 2.) Nurture the possible 3.) Define 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 five-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, which needs 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. 7

Bankside Urban Forest, England

(Witherford Watson Mann architects)

the lace market as a creative cluster

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 the lace market as a creative cluster

London wound up the hill, centring themselves around this cluster with the oldest streets running east/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-producing machinery. 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. 9

the lace market as a creative cluster

Creativity is unique, because it comes from people... a quintessentially human characteristic. (Franke & Verhagen, 2006)

the lace market as a creative cluster

diversity & density mix Working alongside the readings of Richard Florida this chapter assesses the extent of Nottinghamâ&#x20AC;&#x2122;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. â&#x20AC;&#x153;Some creative

businesses flourish particularly well when they form clustersâ&#x20AC;? (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 on these 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.

Design & Advertising

Arts & Antiques

Architecture

the lace market as a creative cluster

Film & Photography

Designer Fashion

Digital & Publishing

Nesta Creative Sectors

Musical & Visual Art

the lace market as a creative cluster

Education

NESTA (The National Endowment for Science, Technology and the Arts), is regarded as one of the most ambitious organisations aiming to map the UKâ&#x20AC;&#x2122;s creative clusters. Research includes showing where they are located, the formation of sectors and what their role is in the process innovative development. The benefits of industrial clustering have long been identified giving businesses access to skilled staff, shared services, and the opportunity to capture valuable knowledge spillovers. NESTA identified twelve creative groups, of which eight were adapted to create sectors applicable to creative clusters within the Lace Market. 14

Creative Industry in Nottingham

Since the 1990’s Nottingham City Council have been focussing on the 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). the lace market as a creative cluster

Fig 2.1 Lace Market Central Nottingham City Sprawl

the lace market as a creative cluster

Occupational Land Use

Fig 2.2 Advertising & Design Architecture Arts & Antiques Fashion Photo Music visual arts Digital & Publishing Cafes Education Bars, restaurants Non creative

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 is this 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 office and non retail sectors such as advertising, architecture, education and publishing with a declined â&#x20AC;&#x2DC;non-purposeâ&#x20AC;&#x2122; visitor footfall percentage. the lace market as a creative cluster

Zone A

Fig 2.3

Zone B

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 small independent 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)

the lace market as a creative cluster

A Creative Diversity

Flyers demonstrate an assortment 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 the heterogeneity 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) the lace market as a creative cluster

the lace market as a creative cluster

Fig 2.4 Bars & Nightclubs Restaurants Pubs Cafes Retail Industries Non Retail Industries

the lace market as a creative cluster

The Day & Night Economy

Fig 2.5 Night economy Daytime economy Hybrid day/night economy

There is a â&#x20AC;&#x153;pronounced shift in the Lace Market area from being a largely daytime economy to a night-time economy.â&#x20AC;? (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 the lace market as a creative cluster

previously mentioned, the map adjacent reveals the sporadic nature of night sites forming small connecting clusters; with probable economic benefits. Daytime economies appear to be reliant on streetscape hierachy with many siting in areas of high public exposure predominantly retail based. 22

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

Character [continuity & enclosure] “Historic cultural environments 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 is therefore exploring what forms continuity of building heritage, character in townscape & landscape and cultural association, through the use of creative mapping, photographic invesitgations and field studies.

the lace market as a creative cluster

Building Heritage Composition

Fig 3.1 Old Rennovation New

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 â&#x20AC;&#x153;claim the entire urban cultural landscape as an important part of history not just its architectural monumentsâ&#x20AC;? (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 influx of new builds on the fringe of the existing infrastructure. the lace market as a creative cluster

Conceptual Character Photomontage

the lace market as a creative cluster

Interviews with Industry

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 beneficial for networking, with the other 40% potentially reaping the benefits of internet communications - providing a new means of creative networking virtually rather than physically. the lace market as a creative cluster

Fig 3.2

Which â&#x20AC;&#x2DC;Creative Industryâ&#x20AC;&#x2122; would you classify your business as?

Please could you state how many people work for your company.

The Lace Market location is crucial for your business?

Bars & Nightclubs

Retail Industries

1-5

15-20

Strongly Agree

Disagree

Restaurants

Non Retail Industries

5-10

20-25

Agree

Strongly Disagree

10-15

25+

Neutral

Pubs

Bars & Nightclubs

Cafes

Restaurants

The attractiveness of the Heritage & Character of the Lace Market is important for your business.

The Lace Market is friendly, social & a desirable place to work.

The Lace Market location is important for meeting and networking with suppliers, collaborators & competitors

Strongly Agree

Disagree

Strongly Agree

Disagree

Strongly Agree

Disagree

Agree

Strongly Disagree

Agree

Strongly Disagree

Agree

Strongly Disagree

Neutral the lace market as a creative cluster

Neutral

Fig 3.3

Open & Green Space Siting

“The creative city is an open city.” (Franke & Verhagen, 2006) These places mediate between 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 with new 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. the lace market as a creative cluster

Lace Market Square

the lace market as a creative cluster

Conceptual Culture Collage

the lace market as a creative cluster

A lively, bustling place that draws people from 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 benefits. The concept that “streets are more

than just traffic 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-firm linkages...particularly important in the context of cities.” (Bagwell, 2008).

Circulation & Accessibility Fig 4.1 Nottingham City Centre Lace Market Bus/Train Station Bus Stop Routes into Nottingham

Nottingham has long been commended for its efficient public transport system. The network provides access to the city centre from suburban locations via trains, busses and trams (fig 4.1) with the tram being noted as “a great success since the first line opened in 2004.” (The Nottingham Plan, 2012). Internally this integrated transport system links via bus stations to the south, bus stops to the north west and vehicle access via converging out of town roads (fig 4.1). Zoned pedestrianised areas provide a variety of street styles while creating a safe and social environment to link the lace market as a creative cluster

the Lace Market and Market Square (fig. 4.4). These routes reflect 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).

To Tra in

Station

To Market S q.

Fig 4.2

Fig 4.3

Fig 4.4

Car Routes

Tram Line

Pavements & Pedestrian Routes

Car Park

Tram Stop

Pedestrianised Zones

the lace market as a creative cluster

Travel Connection Interviews

Legibility is the concept of human understanding and natural wayfinding 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 difficult 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.

the lace market as a creative cluster

Fig 4.5

Fig 4.6

Do you find the Lace Market area easily accessible from the Market Square city centre?

How did you travel here today?

the lace market as a creative cluster

Advertising & Design

Architecture

Arts& Antiques

Designer Fashion Music Visual & Arts

new firm formation, growth, profitability, job growth and innovation.” (Bagwell, 2008). Fig 4.7 highlights the divisions of each identified cluster, illustrating each industries interpersonal relationships. Patterns shown by sectors such as designer fashion and art & antiques coherently illutrates the benefits of a tight knit network centred around a high foot fall street axis. The benefits clustering are further backed up by evidence shown in Fig.3.2 (Surveys with industry). In contrast industries like architecture show sporadic placement influenced by their withdrawn public exposure.

Education

“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 firms and the regions, including increased competitiveness,

Photography & Film

Fig 4.7

Bars & Restaurants

Cluster Structure & Connection

the lace market as a creative cluster

Nottingham already has in place the elements required for this manufacturing renaissance. (The Nottingham Plan)

the lace market as a creative cluster

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 significance”. (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.

the lace market as a creative cluster

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

1740 DOMESTIC

RENOVATION

DECLINE 1840

INDUSTRY

the lace market as a creative cluster

1968

1940

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

1980

1990

ART CULTURE

INTERNET

1950

1970

1990

ABANDONMENT

ARTIST STUDIO

COMPUTERS

way.”(Franke & Verhagen, 2006) The survival of this longestablished industrial district is reflected in “production techniques and technology, as well as markets and cultural development in both design and consumption/ fashion.” (G. L. Evans, 2009)

2000

SOFTWARE 1990

HOUSING

The Creative Cluster of Industry

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 the lace market as a creative cluster

revival, with a “new planning strategy 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 finding a new lease of life.” (Ferris, 2000) Unlike previous

years when autonomous artists occupied 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 reflects 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 “postindustrial” cities.” (G. L. Evans, 2009) 49

the lace market as a creative cluster

Fig 5.1

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. Fulfill. 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. Fulfill. 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. Fulfill. 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. Fulfill. Compose. Think. Layout. Culture.

am gh ttin o N

the lace market as a creative cluster

ve Uni

t rs i

am yC

s pu

Social Education for Future Adaptability Fig 5.2 Non Educational Establishments Lace Market Education Establishments

“Nottingham has one of the youngest populations of any city in the UK. Two out of five residents are under 24.” (The Nottingham Plan, 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.

the lace market as a creative cluster

Creativity brings about something that is genuinely new and worthwhile enough to be added to cultureâ&#x20AC;Ś (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

influencing the sectors place within this ‘frozen’ historic built 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.

the lace market as a creative cluster

The Lace Market as a Creative Cluster

“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’s economic 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 the lace market as a creative cluster

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 centre of 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 the economy.” (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 longterm wealth, that not only bind new people to the city but encourage kids to get into those industries.” (Nottingham Culture, 2012). Consequently, youth will encourage 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 a skilled 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) Reflecting the heritage of manufacture, and need for continuity and diversify. The youth of 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) 56

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the lace market as a creative cluster

Jonathan Ballard_4119621 Eleanor Connolly_4118571 Cameron Worboys_4105633

/ Group Assignment Opt.1 / K13 UDT

THE LACE MARKET AS A CREATIVE CLUSTER