Nurturing the Creativity Through Art and Design Offices: Location Choice Analysis, Nuremberg

Nur t ur i ngt heCr eat i v i t yThr ough Ar tandDes i gnOf f i ces : Locat i onChoi ceAnal y s i s

Wi Se20202021

Resear chpr oj ectbyI r em Cal i si r ,Mar i i aBaeva

Content: Chapter 1: Introduction……………………………………………………………..2 1.1 Problem Identification 1.2 Objective of the Study 1.3 Research Questions 1.4 Structure of the Project Chapter 2: Literature Review………………………………………………………5 2.1 Creative Industries and Creative Class 2.2 Factors for Locational Choices of Creative Industries 2.2.1 Economic Factors 2.2.2 Institutional Factors 2.2.3 Creative Factors Chapter 3: Methodology……………………………………………………………15 3.1 Synthesis of Methods 3.2 Archival Research 3.3 Spatial Analysis 3.4 Location Choice Analysis Chapter 4: Findings and Discussions…………………………………………….17 4.1 Locational Choice Analysis for Art and Design Offices in Nuremberg 4.1.1 Economic Factors 4.1.2 Institutional Factors 4.1.3 Creative Factors Chapter 5: Conclusion………………………………………………………………45 References………………………………………………………………….…………46

1

INTRODUCTION CHAPTER 1 1.1 Problem Identification Creative industries have become a new topic of excitement not only in policy-making discourse, but also among a large number of academics. Often seeing CIs development as an alternative path for mainstream economic growth, their advocates criticize traditional economic sectors that are alone not capable of coping with the challenges that derive from the quickly developing global economy. The understanding that large manufacturing industries cannot improve wellbeing and social inclusion, let alone provide a sustainable development pathway, has led to the inclusion of CIs in cultural and economic growth strategies in many developed countries. In European economic policy debates, it is widely recognized that countries can only stay competitive if developments manage to embrace culture, creativity and innovation, which translates into economic forecasts such as better income, new job creation or high export rates (UNCTAD, 2008, 2010; KEA , 2006; European Commission, Green Paper, 2010). Policymakers often accept the rights of CIs as given without further investigation of regional differences or road-related developments.

So far, the Germany with one of the strongest economies in Europe, have been highly successful in nurturing artistic and creative activities. Those activities are mostly concentrated in the biggest cities of the country. One of the rising share of them are based in Nürnberg, on the way to become an important cultural and economic centre of the Germany. Policies in the city put considerable emphasis on fostering creative businesses development and growth.

The city possesses a wide array of programs designed to assists artists, young start-ups and creative entrepreneurs, thereby supporting the development of CIs. The Economy and Infrastructure Forum of the European Metropolitan Region Nuremberg (EMN) helps to make the cultural and creative industries in the Nuremberg Metropolitan Region visible. In 2010 the Nuremberg Metropolitan Region was the first in Germany to publish a report on the culture and creative industries (KuK). The now published 2nd report describes the changes that have taken place since then. In addition, it sketches a picture of the structural change within the KuK, illuminates the developments in the eleven sub-markets. The cultural and creative industries include a total of eleven very heterogeneous sub-markets. Creativity has a decisive influence on a business location's ability to innovate, and so the industry is an important economic factor for Nuremberg as a contemporary high-tech, industrial and service location. Nuremberg as a “home for creative people” has a lively scene. In the last few years there has been enormous

2

creative potential. As creative industries have become one of the fastest growing industries in the post-industrial era, location selection has been focused by both academics and policymakers. In this direction, the aim of the project is to define the location indicators in the art and design sector, focusing on the location selection criteria of the creative industries. In line with the determined criteria, the best location that will contribute to the development of creative industries and improve the image of the district .

1.2 Objectives One of the objectives of this study is to identify main factors for location choice of creative industries. In the context of Nürnberg, the study explores the influential factors from economic, institutional and creative aspects. Then the aim is to determine the most appropriate district for art and design offices that responds to the spatial and social needs of creative class and can contribute to the creative identity of the city, and create a social medium for the networks.

1.3 Research Question This research attempts to address the following two questions: RQ1: What factors have impact on locational choice of creative industries?

RQ2: What is the best location in the inner city of Nürnberg for art and design offices that fosters the growth of the creative industries?

1.4 Structure This research consists of five chapters. Chapter 1 focuses on the economic and urban context of Nuremberg and explains why Nuremberg is representative regarding creative development.

Accordingly, this chapter proposes key objectives and research questions in order to conduct more in-depth research.

Chapter 2 reviews a broad range of literature. It first explores the relevant concepts and practices of creative clusters. It then clarifies the roles of three key actors in creative cluster development as follows; market, local authority and creative class. After that, this chapter pays particular attention to identify the potential factors that impact location choice of creative industries from economic, institutional and creative aspects. Lastly, it proposes key indicators for each influential factors.

Chapter 3 describes detailed approaches to the proposed research questions. It investigates the development process of local creative clusters economically, geographically and institutionally. It then concentrates particularly on 5 districts of Nuremberg, M50 and The Bridge 8. The data collection methods cover archival research, spatial analysis, policy review and case studies.

Chapter 4 evaluates and compares the data collected from all the study areas. It employs qualitative statistical analysis to conduct spatial characteristics analysis, socio-demographic analysis to lead the location choice analysis. The key findings are analyzed and discussed thoroughly in order to best address each of the proposed research question.

3

Chapter 5 concludes the research background, research design and key findings. It ends with proposed recommendation for art and design office location in the Nuremberg.

4

LITERATURE REVIEW CHAPTER 2 2.1 Creative Industries and Creative Class The term creative cities has its roots in the 1980s and has become the focus of many academics (Florida, 2002; Landry, 2008; Durmaz, 2012). The idea of creativity developed in the 1980s in terms of culture, arts, cultural resources and cultural planning, and in the mid-1990s; cultural industries have become creative industries and creative economics (Landry, 2008). At the beginning of the 21st century, culture and creativity became the main argument for successful cities, seeking new foundations in city development and understanding the importance of locality and cultural heritage (Kunzman, 2004).

Theories of creativity are often viewed as an economic process by many urban planners, policymakers, and academics. In this conceptualization, Florida (2002) defines creativity with the theory of "creative capital" and says "Creativity must be motivated and nurtured in a wide variety of ways by employers, people themselves, and the society in which they live." With the creative capital theory, it aims to increase the urban housing and workplace for knowledge based on culture economy. Landry (2008) also suggests creativity in relation to local culture and identity for economic success. It refers to cultural activities that can engage in face-to-face interactions with entrepreneurs, artists, intellectuals, students, managers, and power brokers to create new ideas, artifacts and products for the economic development of cities. Therefore, these concepts of creative cities involve the economic question with the creative city image aimed at attracting cultural city tourists.

The challenge of the creative city phenomenon is not only about the economic development of cities, but also the quality of place that supports public welfare. (Frey, 2010). Therefore, the term creativity is also defined as an inspirational change that 5

enhances the quality of the space (Verwijnen & Lehtovuori, 1999). Frey (2010) argues that creative cities, which provide the social group "space" to try and experiment, can preserve and create cultural diversity, contain social and social innovations for the transition to the nature of the place. Therefore, theories about creativity along with the quality of place have received increasing attention from many academics and policy makers.

The concept of creative city refers to many disciplines including urban planning / design, sociology, cultural geography and economics (Durmaz, 2012). However, the creative city debate has been the focus of economic literature in particular. An urban design approach should also be developed to support the quality of the space with the concept of creativity. Therefore, the creative city that has the potential to direct the future of the cities, beyond the economic dimensions, should be explored in spatial dimension.

Creative Industries: The concept of creative industries that emerged in late 1990s is accepted from cultural industries. UNESCO (2006) defines the phenomenon of cultural industries as a combination of cultural and economic activities that maintain cultural diversity.

Compared to cultural industries, Garnham, who analyzes cultural and creative industries in his article “From Cultural to Creative Industries”, points out distinctive characteristic of creative industries with the term of “information society” and “new economy”. He defines creative industries with key themes of “access”, “excellence”, “education” and “economic value”. Highlighting the importance of traditional knowledge and cultural heritage for creative industries, the United Nations Conference on Trade and Development (UNCTAD) develops a broad definition for creative industries as follows: cycles of creation, production and distribution of goods and services that use creativity and intellectual capital as primary inputs, A range of knowledge-based activities that focus on the arts, generating income from trade and intellectual property rights; tangible products and intangible intellectual or artistic services with creative content, economic value and market objectives; at the intersection of tradesmen, services and industrial sectors.

Creative Class: The creative class is defined as a group of people who need creativity to keep their work - designers, scientists, artists, brain workers, etc. (Landry, 2008). The concept of 6

"creative class" developed by Richard Florida (2002) and featured in the Rise of the Creative Class. Florida (2002) divides the creative class into: 1) the "super creative core", which includes scientists and engineers, economists, social scientists, architects, academics, and can generate new forms of technological innovation; 2) "creative professionals" who work in business, finance, law, advertising and healthcare and focus on creative problem solving. In addition to these groups, Florida (2002) also defines "bohemians" who are part of the creative class, including writers, visual and performance artists, photographers, musicians, designers, media and entertainment professionals. Therefore, Florida (2002) emphasizes that the creative class, which is the source of creative capital, creates new ideas, new technologies and / or new creative contents for the economic development of cities.

2.2 Factors fo Locational Choice of Creative Industries This section presents a review of the predominant studies on the key drivers and locational choice of creative industries under the three title as follows: Market, Institutional and Creative factors. The structure of this section shortly embed our paper into broader paradigmatic discourses in economic geography. A review of the theoretical explanations as well as empirical evidence on the spatial concentration of CIs is presented along this section, in which the roles of market situation and formations, and institutional environment and creative factors CIs clusters are elaborated.

Fig 1. Location Indicators of Creative Industries

2.2.1 Economic Factors 7

As creative industries play an increasingly important role in today's regional competitive market, the big emphasis is placed on mechanisms or drivers that encourage creativity and attract creative people globally to certain locations. (Scott 12014, Pratt 2009, Florida 2004). However, in recent literature, creative industries are often regarded as a ‘’homogeneous production system’’ (He&Huang 2016) that automatically shares common aspects, such as the traditional anti-traditional, bohemian, free and sexually liberal characteristic of the urban environment (Florida 2002, Drake 2003, Lee et al 2004, Wojan et al 2007). This perspective reduces the creative environment into aspects like sexual tolerance, bohemian life style which has been reflected in contemporary perspectives. However, there are significant differences among different sectors of creative industries (Markusen 2006, Sunley et al. 2008, Hansen and Niedomysl 2009, Borén and Young 2013). According to Markusen (2006) the urban preferences of creative people from artistic sectors may differ from other creative sectors that involves certain criteria based on institutional policies, community life, economic factors and many other.

In this direction, overall review of main drivers will be effective to understand locational choices of creative industries.

Agglomeration Economy: CIs are not evenly distributed but rather spatially concentrated on some specific locations (Scott ,2005). This concentration of creative industries attracted a wide research interest among the scholars and is predominantly associated with agglomeration effect. While the literal meaning of agglomeration is ‘’a mass or collection of things; an assemblage’’ (Lexico, 2021), in economic terminology it acts as ‘’centripetal force’’ (Gong&Hassink 2017) that fosters the growing attraction to certain places with specific location characteristics and in cities.

Agglomeration economies have two elements: localization economies and urbanization economies. The main ideas of localization economies are ‘’ concentration of production in a particular location generates external benefits for co-located creative firms’’ (Gong&Hassink 2017, p.587), having accessibility to key suppliers and goods which are common for the same sectors and easiness to reach buyers (Storper 1995; O’Connor 2004; Scott 2006; Lorenzen and Frederiksen 2008; Branzanti 2015). On the other hand, the main ideas of the urbanization economies are the tendency of the concentration of CIs in cities, and large cities and metropolitans attracts creative people more due to quality of urban amenities (Landry 2012) and based on special demands by creative class the importance of the quality of place precedes the accessibility factors on locational choices (Florida 2005). Landry (2012, p.133) refers place as a ‘’Creative Milieu’’ which are located in cities and they offer a physically settings that provides mass of entrepreneurs, intellectuals, artists, students, social activists that contributes the flow of information and knowledge through human scale interactions. Similarly, Glaeser et. al. (2001) states that good public service, aesthetically appealing environment, the presence of consumer goods and the quality of urban life are basics of urbanisation externalities. Systems of associated structures, social networks and human interactions (Landry, 2012); tolerance, talent, technology (Florida 2006) are some other externalities included to urbanization economies. As consumerism is a part of the urban life it is highly connected to attractiveness of a place aa well.

Gleaser et. al. (2001) states that the attractiveness is the future of the cities. And the large size of markets of creative sectors in the cities are the manifestation of this claim as attractions for creative firms (Yusuf & Nabeshima, 2005). Hence, based on the different reviews we may regard the markets as one of the main drivers of the location. Pattern for creative industries.

8

Spin-Off Formation: In addition to the benefits provided by agglomeration economies, creative industries also cluster thanks to the mechanisms of spin-off formation. As Gong and Hassink (2007) mentioned Pirnay and Surlemont (2003) to explain the process of spin off promotions, it means any situation which consists of three steps as follows; first it starts with an existing organization, which is named as ‘’Parent Organisation’’, second it involves multiple individuals and later those individuals leaves the parent organisation to create their own. Although, creative industries consist of some small grassroots which are not connected any institutions or universities , spinoff formation is high affecting on pulling them together. Also spin-off formation model is divided into two; university spin-offs, cooperation spin-offs.

Based on Florida’s 3T theory, Liu (2007) pointed out the universities’ significance in three different way to explain how influential they are on the spatial patterns of creative clusters. First, it provides art and technology and knowledge, second, it attracts ‘’creative class’’ and provides an environment of interaction , and third universities are more associated with tolerance.

According to Gong and Hassink (2017) spin-off companies is an effective to for universities to commercialise their research and university spin-off tend to be located close to the university campuses to benefit from them.

Another category of spin-off is cooperations. According to Wenting (2008) cooperate spin-offs inherit the successful performance of the parent organizations, so without any experience they replicates the routines though spin-off that leads clustering in industries. Spin-off formation contributes the knowledge share through universities or companies to creative spin-off firms.

According to Gong and Hassink (2017), spin-off formations individually, however, are not enough to explain spatial patters of the creative industries.

Geographical Proximity: As we mentioned above, benefiting from the advantages of the agglomeration effects and spinoff formations, creative firms have access to knowledge, technology, supplies and their target groups. In knowledge-driven sectors, enterprises prefers to be close to amenities, universities, institutes and infrastructures (Cruz & Teixeira 2014; Sivitanidou 1999). Therefore, local attributes significantly decrease the costs for new enterprises and provide proximity to supplies and knowledge. Similarly, the 3T Theory by Florida (2002) suggested that where tolerance, knowledge and talent are gathered facilitates to benefit from talented workers and technologies.

First, Universities are very important to attract creative enterprises for above two reasons.

Universities offer a pool of talented people and creative knowledge. Being close to the university environment is crucial to the creative class in terms of opportunities offered formally and informally. Creative enterprises close to these environments benefit from the potential of skilled workers, low-cost research power, and proximity to supplies (Florida, Gates, Knudsen, & Stolarick 2006; Gong & Hassink 2017). A secondary benefit is that these institutions can reach the academic environment and resources through universities, and they are close to possible collaborations to benefit from the university's technology professionally.

9

Second, the presence of other creative firms in certain locations is influential on locational choices of creative industries. Based on agglomeration effect, clusters of creative firms offer external benefits for co-located firms as well as proximity to buyer, suppliers, key facilities, professional networks and knowledge spillovers (Gong & Hassink 2017). So proximity to creative industry clusters contributes to create a professional environment where needs of the sector commonly fullfilled.

Similarly, proximity to clustering of big companies is also influential due to the opportunities of possible cooperation models. Scott (2000) states that the growth of creative industry clusters often relies upon institutional support, partnerships. So, in this regard the higher chances of possible financial supports and partnerships are possible by closer location to those national or transnational big companies.

Rent Costs: Another influential economic factor is rent costs. In some cases rent price factor even precedes other locational factors for creative class. The interview survey conducted by He and Huang (2016) suggested that creative individuals in Shanghai place more importance on economic factors than sociocultural criteria. Niedomysl and Hansen (2010) found that economic factors majorly affect mobility of the creative individuals. A spacious workplace with affordable rent, could contribute directly to the enterprise targets (Serra 2016). Most creative industries are located where there is public transport and public amenities. Generally, rental prices are very low before urban revitalization projects, while an increase is observed in rents after renovation due to gentrification (Smith 1987). This situation affects the purchasing power and affordability of rent for the creative class at that location. And although it is advantageous to be close to the creative industry clusters, that would reverse the situation. While some areas are much closer to wealthy customer profiles and prospective partners, it can be challenging for new start-ups. This result is ‘’ applicable to the officially established “creative industry clusters” with abundant workspaces renovated from former warehouses and workshops’’ (Hi & Huang 2016). And new occupants of these creative spaces appreciate both the cheap rents and the nostalgic feel of these old building spaces (Hi & Huang 2016).

2.2.2 Institutional Factors Institutions are crucial to the formation and development of creative industry clusters because they assist firms in solving complex coordination problems with other economic actors in the market. Institutions at all scales from national to regional and local levels are very important determinants of the spatial models of creative industry clusters.

Intellectual property protection with a properly functioning legal system is an attractive point for creative industries. In addition, according to many different studies, small enterprises prefer the places with policy incentives that provide financial support, low tax or etc. in their location selection (Berg ,2015; Chandler, 2012; Haisch & Klöpper, 2015). Because the policy-led

10

development offers creative industries opportunities such as cheap rent and subsides (O’Connor & Gu, 2014). Given that the largest challage of small enterprises are financial problems due to their small size (Chan & Lin, 2013), many government programs try to help the creative industries by reducing credit barriers for support purposes (Chandler, 2012).

The role of local governments in the entrepreneurship process lies in providing a favorable environment and required infrastructure (Maryunani and Mirzanti 2015). In many countries, incubators supported by the public sector have appealed to a large number of new creative firms (Gong & Hassink 2017). Turko’s (2003) study shows that national and transnational organisations have a great impact on the ‘’scale and durability’’ of the different creative sectors.

2.2.3 Creative Factors Diversity, Tolerance, Openness: Florida (2002) defines that making a city attractive to the "creative class" is possible with the acceptance of diverse people and lifestyles, with diversity and tolerance expressed as a cosmopolitan atmosphere. Creative and talented people are often individualists with incompatible behaviors and attitudes, and therefore cities that accept a wide variety of people with different backgrounds will be the most successful in attracting these individuals. In other words, creative initiatives are located in more open, vibrant, multicultural and inclusive places because these places can contribute to their creative production by being technologically in line with their creative needs and culturally unconventional behavior. (Florida, 2002; Haisch & Klöpper 2015, Ma & Shen, 2010). Therefore, a tolerant and open environment is a fundamental location requirement for many creative businesses.

According to Jacobs (1961), diversity helps encourage both creativity and urban development.

Because it emphasizes that a place with people who tolerates various thoughts, accepts new ideas, and hosts different lifestyles and cultures is more tolerant. And these places are economically more successful. Likewise, Florida (2002) suggests that reducing barriers to entry for newcomers is necessary in order for these people to be accepted into various economic and social arrangements in a short time.

All else being equal, such places are more likely to attract and retain entrepreneurs who can generate new knowledge and innovation. Therefore, a tolerant and open environment contributes to the promotion of entrepreneurial activity (Florida et al., 2008). As stated earlier, universities not only export large numbers of talented people and academic knowledge, but also provide open spaces where talent from all disciplines interact and generate free thinking (Florida et al., 2006). In other words, the existence of universities facilitates the shaping of a diverse, inclusive and tolerant environment and entrepreneurship ecosystem for newcomers (Florida et al., 2006; Gong & Hassink, 2017).

Another measure applied by Florida is the foreign born people population. Trip (2007) suggested that Florida’s ‘’melting-pot index’’ is not applicable in terms of raising tolerance in Amsterdam example, because it says little about sociocultural diversity. His findings in Amsterdam shows that rather than large group of nationalities as immigrations, the distribution of many nationalities

11

contributes tolerance more. So, assuming that foreign born population is a great input for tolerance and diversity, also the variety of nationalities matters.

Urban Amenities, Liveliness, Quality of Place:

When members of the creative class choose a place to live, they seek attractive living conditions rather than closeness to their work. Florida therefore argues that in developed urban economies it is more important to focus on talented people than to attract firms (Florida, 2002a, p. 293).

Crucial for this is the quality of place: an attractive, diverse and tolerant urban environment is increasingly recognized as an important factor in urban competitiveness (Trip 2007).

The quality of space as defined by Florida is more prominent and is clearly concerned with urban economic development and the behavior of a wide variety of "creative" workers rather than firms or managers. It involves a number of factors that collectively make a city an attractive place of residence for the creative class: economic and spatial diversity, special leisure and cultural opportunities in the interests of the creative class, a mixed population, the chance of informal meetings in it. unidentified aspects such as so-called "third spaces", security, vitality and authenticity, tolerance, street life, buzz and urbanism (Trip 2007).

In the study of Sivitanidou (1999), apart from productive amenities, non-productive amenities are equally perceived as important location indicators for knowledge-intensive industries. These facilities have the potential to maximize profits or indirectly minimize costs of businesses, including good environmental quality (e.g. green spaces), cultural venues (e.g. museums, culture centers) and recreational facilities (e.g. cafes, restaurants). According to Florida (2002), community-based festivals and street arts events can be as important to attracting talented people to specific locations as vital contributions to street life, vibrancy and diversity. Similarly, Trip (2007) pointed out that regular street music festivals may be just as important in terms of quality of place and quality of place depends heavily on elements that can exist alongside the high culture facilities in cities like museums, theaters etc.

Some scholars point out that the diversity and intensity of land use involving an urban buzz can contribute to face-to-face encounters, thereby increasing knowledge exchange and innovation productivity (Chatman & Noland 2011; Wood & Dovey 2015). Likewise, according to Jacobs (2016), intense human-scale interactions between different social groups are necessary for citizens to increase creativity and the urban environment. This argument was later reinforced by knowledge-based advocates who emphasized face-to-face contact as a key way of conveying implicit knowledge and knowledge (Storper and Venables 2004). Hence, locations where human-scale interactions are enabled through the urban amenities such as recreational areas or public spaces are more successful to attract creative people. And diversity of events and places offered in certain locations contributes the liveliness and quality of leisure.

Aesthetics, Environmental Quality: Most cases show that creative industries tend to be influenced by certain characteristics of places (Clifton, 2008). Normally, these places are characterized by a unique socio-cultural setting or place identity, which can include aesthetics in the architectural and urban landscape, urban historical and cultural heritage, landmarks, industrial and recreational areas (Ding 2020).

Place is a resource of inspirations and visual raw materials that could stimulate creativity (Drake

12

2003). Drake (2003) explains that the subjective response of creative people to space will affect how they can use the features of that place for aesthetic inspiration, and that this response will be shaped by individual identities, perceptions and beliefs.

Currid and Williams (2010) argue that historically significant landmarks and, in some ways, iconic infrastructure have a crucial impact on promoting location branding. For instance in Birmingham example physical regeneration, particularly in the city centre, has been an important aspect of urban policy in an attempt to enhance city image through investment in iconic architecture, landmarks and as well as the refurbishment of old buildings (Brown & Męczyński 2010). According to the study conducted by Brown & Męczyński (2010) City Revitalization and Regeneration Program for Poznan supported by local authority for refurbishment of the private historic houses in the city centre have enhanced the quality of the city centre. So, the revitalization projects of historical areas and buildings with the support of local government contributes visually to the image of the city and makes it more attractive for the creative class.

In addition to human-scale interaction possibilities and visual and historical features of the built environment , the research shows that creative people strongly prefer to concentrate in pedestrian-friendly neighborhoods surrounded by various activities in Austria (Wood & Dovey, 2015). Similarly, creative businesses in the US prefer to settle in accessible and walkable places with efficient public transport services (Zandiatashbar & Hamidi, 2018).

13

Location Factors

Economic Factors

Institutional Factors

Market

Presence of Art and Design Firms

External Supply

Closeness to the suppliers

Rent Price

Office/house rent price

Geographical Proximity

Proximity to Universities, Big Companies, Cultural Facilities, Suppliers

Institutional Environment and Policy Incentives

Tolerance/Openness

Urban Amenities/Quality of Place

Creative Factors

Indicator

Liveliness/Culture

Aesthetics

Environmental Quality

Urban Revitalization, Support for Creativity

Diversity of cultures, Foreign born population Education level

Cafes and restaurants, Public open spaces, Social centers

Cultural events/Facilities, Festivals

Architecture , Physical Regeneration

Reuse of old industrial areas, natural environmental assets

Table 1. Location Factors for Creative Industries (Based on Literature Review)

14

METHODOLOGY CHAPTER 3 3.1 Synthesis of Research Methodology This research consists of in three major parts of analyzing selected locations based on locational choice of creative industries: economic aspects, institutional aspects, and social impacts. Using archival approach, the market situation of art and design offices is examined, focusing on the evolving paths of the selected sites into art districts that gives character to . The study also discusses the partnerships of various social interest groups (such as artists, local authorities, companies, universities and residents) and finally differentiates several development modes based on their different driving forces for creative development.

In the field research spatial transformations are examined empirically and detailed spatial analysis is used in case study which is comparison of 5 central districts of Nuremberg as follows; Weststadt, Nord, Altstadt, Süden, Südost. The spatial, functional transformations and spatial usage of the public spaces in selected districts are also examined in details.

The social, economic and political implications of districts are discussed in the impact study, based on comprehensive literature reviews, touching upon issues that reflect the key motivations of choosing location for creative industries. In brief, the study uses the following methods: • Archival Research • Spatial Analysis • Case Study 15

3.2. Archival Research Archival research is the basis of this study, including collecting, reading and analyzing information leading to the final findings. In order to better understand the locational choice of creative industries as a social agenda, the archival research includes literature review of books, academic journals, conference papers relevant to location choice analysis of creative industries. Furthermore, governmental documents, expert reports, and maps are also included in further evaluation of art and office market, such as their design and planning intentions, their publicness and usage, their impact to the surroundings, policy making procedures, and future development trends in the regeneration.

3.3 Spatial Analysis By examining, mapping and analyzing the concrete redesign measures implemented in these cases and collection of quantitive data , the study discusses how innovative intentions are embodied into physical space. Functional transformation and new spatial activities are also important components of spatial analysis. In this study art and design businesses were evaluated through including arts production, arts consumption and leisure developments, art suppliers in selected locations. They were mapped that it is possible to discuss about regenerated spatial activities both according to their physical maps and functional patterns.

3.4 Locatioon Choice Analysis The 5 districts were chosen as case due to their central location, connection to the transportation network and the interconnectedness of holistic economic activities.

These districts are Weststadt, Nord, Altstadt, Süden and Südost. In each of the selected districts, the criteria determined for the location selection of the creative industries were examined and compared with each other as a result of the evaluation of archive and spatial analysis data, and the findings determined which district is the most suitable place for the art and design office.

16

FINDINGS AND DISCUSSIONS CHAPTER 4 4.1.1 Economic Factors We have stated that the main motivation behind accumulation economies is being close to the sectoral environment, benefiting from information sharing and customer profile, and generally being close to the supply chain. For this reason, most creative groups prefer to be close to other offices in the same sector to realize their artistic activities.

While this facilitates the flow of information, it appeals to economic and social interests for these offices to be in the immediate vicinity, assuming the basic needs are the same.

Accordingly, the locations of all offices operating in the art and design sector are indicated in each district on map-1. While the map shows us how active each region is in art and design sector in terms of quantity, it also shows the locations where sectoral accumulation or spatial preferences are focused on certain points.

The Weststadt region has a high level of activity in the field of art and design, with a total of 84 offices, according to the calculation made by including the over 70 artists' offices within the AEG cultural center. Offices are observed to be concentrated in two regions; one is the AEG center and its surroundings, the other is the east side of the district, which is close to the city center. These two accumulations make us talk about the existence of sectoral associations. On the other hand, art and design office markets follow each other in the Altstadt, Süden and Nord regions. Approximately 15 offices operate in each region and the significant difference between these regions and Weststadt is obvious.

17

Nordstadt

Weststadt

Altstadt

CBD

Südstadt

Südweststadt

1. Design Offices GmbH 2. bayern design GmbH 3. Projektbüro Tafelhof Palais 4. WBS TRAINING Nürnberg 5. Dipl.-Des. Christian Weiland 6. JUNG FORMDESIGN 7. Madame Privé 8. Galerie Meisterstück 9. Slow Art Galerie 10. atelier-n 11. Galerie Zeitgeist Galerie Nürnberg 12. Galerie im Henkerhaus 13. Kunstwerkstaette Weigl 14. Sonja Deibel Design 15. Büro Haase | Designstudio 16. JBKD ¬ Markendesign

17. hoch E - Produktdesign & Markenstrategie 18. STUDIO KRIEG 19. Kulturwerkstatt Auf AEG (cluster 70+ offices) 20. Gallery 76 - At AEG 21. Alexander Seiler 22. Atelier Mara Ruehl 23. dellaLuce - Atelier Andreas Lehmeyer 24. Galerie Hafenrichter 25. consumART 26. Fuhrmann's Galerie 27. Tiny Griffon Gallery gemeinnützige UG 28. Bunsen Goetz Galerie 29. Galerie VIEW 30. Gregor-Galerie 31. Werkstatt LADEN - Gudrun Wojnar 32. Art Villa in KunstKulturQuartier

33. Kunsthalle Nurmberg 34. heypoly Foto & Designstudio 35. André M. Schreiber ANDOR ÍRÓ 36. Designstudio Meerum 37. Marius Schreyer Design 38. grafikatelier Engelke, Neubauer 39. fei design 40. Kleines Designstudio 41. PHOCUS BRAND CONTACT GmbH & Co 42. Bolineo Design Studio 43. Fotografie & Gestaltung Christian Horn 44. Design Nürnberg, Web-Design 45. ELMOGRAFICO GmbH46 47. Nina Metz Konzept Design 48. EYE-D PHOTODESIGN 49. ES IST WINTER

50. Studio Winter - Heinz Winter GmbH 51.Alexander Fuchs DesignStudio 52. MBS Nürnberg GmbH 53. Galerie Eva Tamm 54. Barbara Herbeck 55. ART-WORLD by Marwan 56. RICHARDTS - ART & ART 57. KATENA Studios 58. Wildboar 59. FRTWTY.corp 60. Atelier Doudieh 61. Studio Feinkunst, Atelier - Galerie 62. Galerie Sima

Map 1. Art and Design Offices (Author’s Own)

18

Following this, no serious differences have been observed in the suppliers of art materials. Accessibility to technical art suppliers for artists is equally distributed in each district. However, it can be stated that this is relatively less in the Nord and Südost regions, which makes us think about the art and design activity of the regions.

Considering that there are fewer art and design offices in these districts, the low number of art supplies suppliers indicates that the district activity is less than Weststadt, Altstadt and Süden.

Nordstadt

Weststadt

Altstadt

CBD

Südstadt

Südweststadt

Map 2. Art Suppliers (Author’s Own)

19

We mentioned that creative class want to be close to other offices in their working space selection. Another motivation for this was the cheap rent costs, which was an important economic factor. A spacious workplace with affordable rent, could contribute directly to the enterprise targets (Serra 2016). On the other hand, when it comes to cheap rent, it has been observed that the creative class throws concerns such as physical proximity and distance into the second plan (He & Huang, 2016). In this direction, we made the analysis of the office and house rental prices in each district.

Cosidering the allure of the low rental fee trivializes the distance traveled from where the creative class lives to the office, results from office market and rental prices has priority to housing prices, so housing rent costs is less effective on our location criterias.

According to the findings, We see the highest office rents (8.50-16.00 € / m2) in Altstadt, which is the city center, and Nord follows this. Weststadt, Süden and Südost have the same values in terms of rental costs (7.50-14.00 € / m2).

Nordstadt

Weststadt

Altstadt

CBD

Südstadt

Südweststadt

Map 3. Office Rental Prices (Authors’ Own) 20

Nordstadt

Weststadt

Altstadt

CBD

Südstadt

Südweststadt

Map 4. Housing Rental Price (Authors’ Own) The most affordable rental fees in terms of house fees are in Süden district, it takes about 15-20 minutes to go to locations such as Weststadt, Altstadt due to the convenience of transportation. Hence, an artist living in the Süden district can easily commute to his office in one of the regions such as Weststadt, Altstadt and Südost.

Because of that housing is not the priority for. Locational choice but the quality of place and rental price of where the office is located is matters.

And lastly, spin-off formation as another important economic factor was reviewed.

Corporate spin-offs tend to team up with their parent companies to learn from their routines, thus creating creative industry clusters. And university spin-offs often tend to 21

be located on or near university campuses for the various benefits provided by the universities (Gong & Hassink, 2017). Hence, analysis of university locations and their proximity and analysis of office agglomerations and large company locations provides a significant input for us to determine possible cooperations modes which can be done through locating the art and design offices around those locations.

Nordstadt

9 7

8

7

6

13

Weststadt

Altstadt

2

7 7 12

15

5

10

3

3

7 CBD

3

11

16

1

14 7

Südstadt

4

Südweststadt

1. Akademie der Bildenden Künste

9. Paracelsus Medizinische Privatuniversität Nürnberg

2. Hochschule für Musik Nürnberg

10. IBS International Business School Nuremberg

3. Technische Hochschule Nürnberg

11. iba - Duales Studium Nürnberg

4. Technische Universität Nürnberg

12. OHM Professional School

5. Lutheran University of Applied Sciences Nuremberg

13. ICN Business School Nürnberg

6. FernUniversität in Hagen Regionalzentrum Nürnberg

14. Institut für Energie & Gebäude Georg-Simon-Ohm Fachhochschule

7. Friedrich-Alexander-Universität Erlangen-Nürnberg

15. Institut für Pädagogik und Schulpsychologie- IPSN

8. IUBH Duales Studium Nürnberg

16. FOM Hochschule Hochschulzentrum Nürnberg

Map 5. Universities in Nuremberg and Distances (Authors’ Own) 22

10 9

Nordstadt

7 3 Weststadt

8

Altstadt

16

19

12 5 17

CBD

6

2

11

18

15

20

14

Südstadt

22

1

4 13

Südweststadt

6

1. Faber Castell Shop 2. Cortal Consors 3. ERGO Direkt 4. Hofmann 5. LEONI 5. N-Enrgie 6. Prinovis Ltd. & Co. KG 7. Rödl & Partner 8. AZ Zahncreme GmbH 9. Schaeffler Engineering GmbH 10. Alcatel Lucent 11. DATEV eG 12. UNIVERSA Lebensversicherung a. G. 13. Diehl Controls Nürnberg Verwaltungs GmbH 14. Federal-Mogul Nürnberg GmbH 15. SEMIKRON Elektronik GmbH & Co. KG

16. Baumüller Nürnberg GmbH 17. Schmitt + Sohn Aufzüge GmbH & Co. KG 18. Siemens Mobility GmbH 19. VAG Verkehrs-Aktiengesellschaft Nürnberg 20. Bosch Rexroth AG 21. Leistritz Pumps GmbH

Map 6. Large Companies in Nuremberg (Authors’ Own)

23

Office Agglomerations and CBD (Central Buisiness District)

Legend

Source: 2020 Küspert & Küspert Immobilienberatung GmbH & Co. KG

Map 7. Office Agglomerations Source: Kuespert & Kuespert Immobilienberatung, 2020

24

According to the findings presented in the map 5, 6 and 7, it was determined that there are 7 university campuses in Weststadt, one of which provides education in the arts. In addition, the travel time from Weststadt to the total university campuses in Altstadt, Nord and Südstadt is the shortest 12 and the longest 20 minutes. Wesstadt has a very positive profile, both because it hosts the majority of campuses and is close to other higher education institutions in other locations. After Weststadt, the highest number of campuses and the majority of art schools are located in the Nord. Likewise, the transportation from Nord to other campuses is a few minutes longer, but it is approximately the same time as Weststadt. Other university campuses are evenly distributed in other districts. As a result, Weststadt has more campuses and is easiest to reach other campuses, while Nord has more arts-related campuses. When we examine the broader university profile to make a decision in this direction, we need to take into account the university and student potential in the neighboring provinces, such as Fuerth and Erlangen. In the same way, when we look at the geographical proximity analysis, the transportation time to the surrounding cities by metro is the shortest 10 minutes and the longest 30 minutes for Weststadt. However, since it does not directly host the U-bahn line, this time is longer in the Nord district, the shortest 25 is the longest 40 minutes.

As a result of market analysis which includes large companies mapping and office agglomeration analysis and available working places, the findings are as follows; the take-up of space on the Nuremberg office rental market in 2019 was 191,000 m2. This represents an increase of 38% compared to the previous year and a new record. It is not often that a rental agreement in Nuremberg makes headlines across Germany, but it was the case last year. The renting of the city of Nuremberg in the project development “The Q” on Fürther Straße which is in Weststadt includes around 42,000 m2 of rental space and should have made it into the hit list of the largest lettings in Germany in 2019 (Kuespert & Kuespert Immobilien, 2020).

In the further ranking, second place is the leasing of an interim area to design offices with around 15,000 m2. With this, the new work provider in Nuremberg has signed rental contracts for almost 30,000 m2 within a year. Almost three quarters of the takeup was realized in office agglomerations, i.e. in office centers with a total area of 25,000 m2 or more, such as business parks. In the actual Central Business District (CBD), less than 5% of the take-up of space was generated last year with 8,400 m2. The district location, i.e. smaller office locations - often framed by mixed use - was able to achieve a decent result with around 41,800 m2, which was mainly supported by a large number of smaller deals between 500 and 1,000 m2. There are 7 office accumulations in the Weststadt area, 5 of which are indicated with further growth potential. The fact that The Quelle has the highest rental area in the office market, together with the other 4 office 25

residences working areas in Weststadt, puts Weststadt in top rank in economic factors.

In addition, Weststadt is the district with the most large-scale companies after CBD, together with Süden.

When all conditions above are considered, the Weststadt may result in offering suitable working areas in terms of office market more than other districts. And being closer to universities and organizations in terms of possible collaborations and having an average rental fee, which may result in this district that appeals most to the creative sectors in terms of economic factors.

4.1.2 Institutional Factors Policy Review: Creative industries have a significant role in urban competitiveness (Clifton, 2008; Florida, 2002a, 2002b; Kamarudin & Sajilan, 2013; Scott, 2006; Serra, 2016; DCMS, 2016). Accordingly, granting disused industrial areas with commercial development permission and has become necessary for policymakers (Ding, 2020). Also considering that the growth of creative clusters is always dependent on a mix of institutional tools, including laws, regulations, development plans, public and private partnerships, and other policy initiatives (Drinkwater & Platt, 2016; Scott, 2000), the action of local authorities on this issue are important for the survival of the creative industries. To support creative industries, local government support can be done in many arrangements, these are rent subsidies, funding etc.. In general, it has been observed that the financial support in policy-led developments is provided by public resources (Gong & Hassink, 2017). In this direction, when we review the policies of Nürnberg municipality, we found out three funding programs that aims to support creative projects in the city of Nuremberg and four networks and cooperations in art and culture development. Additionally, there are five larger-scale support projects in the field of arts and culture in the Metropolitan Region of Nuremberg (Culture Division of the City of Nuremberg, n.d.).

Thee first funding project in the city of Nuremberg is ‘’Studio Funding’’ project which is the part of the municipal funding for free cultural work. It serves to partially finance studios in the field of fine arts with the aim of maintaining and promoting places for the production of art in the city of Nuremberg. Support is given to artists who focus on their work in Nuremberg. Professional visual artists who work full-time can apply. The professional artistic activity is usually proven by a completed artistic training at a corresponding academy, university or technical college, or alternatively by an exhibition activity that shows an equivalent qualification. The second program is ‘’Fund for 26

initiative groups in the cultural sector’’ which aims the promotion of innovative project work in the field of culture in the form of start-up funding. And the last one is ‘’Culture in the City’’ program. Within this program, cultural events or individual cultural projects that take place in the city of Nuremberg are funded, as well as the annual work of cultural institutions. One of the important requirement to get funding it that all the events and programs must be open to the public (Culture Division of the City of Nuremberg, n.d.).

It is also important to mention different networks and cooperations with different municipal regions and institutions. The one of the cooperation is done with ‘'Bayernkreativ’’ which is the Bavarian center for cultural and creative industries, is the point of contact for all artists, cultural and creative workers in Bavaria. The Nuremberg Economic Development Corporation is in constant contact with the center and coordinates its regional measures and activities. An important part of the cooperation is the common orientation advice (Nuremberg Economic Development Agency, n.d.). The other one is ‘’The Mayor's Culture Division’’ is a service provider and guarantor for the diversity and innovative strength of cultural life in Nuremberg. Together with partners, it develops cultural and educational policy guidelines, provides support with grants and initiates. Design is becoming more and more important in the innovative value chain. As a contact for companies and designers (designers & architects), ‘’Bayern Design’’ coordinates and supports all public design activities in the Free State. The programs of bayern design GmbH are supported by the Bavarian State Ministry for Economic Affairs and Media, Energy and Technology, the sponsoring association bayern design forum e. V. and the city of Nuremberg. An lastly, the Z-Bau in Nuremberg Süden, guests artists and cultural workers in 5,500m² of playable space. With four event rooms, two outdoor areas and various project rooms, there is plenty of space for events of all kinds. The entire area is barrier-free and the various rooms have basic technical equipment for event and day-to-day operations (Nuremberg Economic Development Agency, n.d.).

Culture is an important location factor. That is why the IHK founded the IHK cultural foundation for the Central Franconian economy in 1993 on the occasion of the IHK's 150th anniversary. The income from the IHK cultural foundation is used to fund projects in the visual and performing arts, music and literature, and support young artists. The foundation also initiates joint campaigns for major cultural projects. Another funding program is provided by the district of Middle Franconia. It provides financial means for the promotion of all cultural areas in the whole district, which essentially come from the Middle Franconia foundation "Nature-Culture-Structure". Support is given primarily to cultural projects and measures in the region: These include monument preservation, heritage preservation, museums, collections, exhibitions, theater, concerts and music events, art, science and research, publications and much more. And another fund provider is Bavaria. Hey offer studio funding, German artist aid. Also under the ‘’Artist 27

houses program, the ministry aims to build artist houses in all parts of the country in which the region's artists can work. If a city makes space available and a professional association or local artist house association ensures ongoing operations, the ministry may grant it for certain investments (Bavarian Ministry of Economics and Arts, n.d.).

Based on policies and programs, we can easily conclude creativity have a strategic component in Nuremberg’s economic development. All local funding programs for art and design sector are valid throughout the city of Nuremberg, not depending on a particular district. Apart from the city of Nuremberg, projects covering the Nuremberg metropolitan area are also implemented in other cities within the region as well as Fürth and Erlangen. And the programs in the network and cooperation model have remained in cooperation with comprehensive centers in the city of Nuremberg such as AEG and formal institutions and universities. It was also found that some cultural centers, such as Z-Bau in the Süden area and AEG in Weststadt, cooperate with the municipality in developing creative industries.

Urban Transformation: Map 8.

Potential Transformation areas (Authors’ own) Nordstadt

Weststadt

Altstadt

CBD

Südstadt

Südweststadt

28

Large company buildings and industrial areas that remained vacant due to changed spatial needs were identified and marked on the map. And these areas are determined by the Nürnberg municipality as potential transformation areas in 2016 and contain many urban renewal projects that are still ongoing. We see that the high potential areas determined by the municipality are concentrated in Weststadt and Süden. On the other hand, while there are urban renewal projects for Nord, Altsatdt and Südost districts, major transformation areas are not specified. Potential areas determined for Weststadt and Süden districts are displayed on the map.

The large-scale usage structures that are characteristic of Weststadt have been subject to major upheaval over the past few years. The abandonment of large company locations has resulted in large-scale, sometimes only short-term vacancies and longterm fallow areas. Some of them are already in a conversion process. For others, adequate subsequent uses, possibly also economically viable interim uses, are sought.

Planning processes for new developments have already started on selected areas and stil continuing. The development of the transformation areas is dynamic.

According to the results of ‘’Stadtlabor Nürnberger Weststadt’’, an interdisciplinary research project by the Technical University of Munich in cooperation with the city of Nuremberg, the transformation process up to 2050 will be driven by the interaction of small and medium-sized companies from knowledge-intensive and creative industries.

They accept incentives and offers from the city and in turn use the urban redevelopment process as an impetus for their economic activities. A multi-stage upgrading process is initiated in which artists and creatives are the pioneers for knowledge-intensive companies that follow suit; smallest companies opened up the location for mediumsized companies. They emphasized that tailored offers and incentives for the respective target groups are necessary to get the process going. And new users can be attracted through temporary uses. The advance of the public sector also signals private investors, owners and users that they trust Weststadt as a business location (Technical University of Munich, 2016) The spatial transformation of Weststadt includes the following measures: Supporting the positive developments in the AEG area and stimulating the expansion of knowledge-intensive functions: An opening to the north connects the world of work on the AEG area with the recreational world of the Pegnitzauen. The connection of the AEG area to the south is being improved in a strikingly functional and symbolic way. The barrier to the underground line on Fürther Straße, which separates 29

the AEG and Quelle areas, is being broken. Temporary uses keep the area moving.

Experimental uses of the empty spaces increase the area's potential to actively absorb new economic or social trends.

Networking of the Quelle and AEG areas: The connection is created along a junction on Fürther Straße and within the two areas. The visual permeability of the subway barrier is increased by removing the concrete walls. It is considered the character of Fürther Straße to dampen the passage space and enable the transformation into a qualitative, lively, urban place. At the same time, diverse new living typologies are emerging. The Quelle building is being broken open from the inside and gradually being filled with new uses. Knowledge-intensive and creative activities are now also enlivening the part south of Fürther Straße.

Consolidation of the development towards a knowledge hub: The elimination of the barrier effect of the underground line along Fürther Straße is noted as great urgency for the transformation The design enhancement of the subway line and the introduction of additional crossing options allow a new, coherent perception of the area. This also makes the development of new residential uses along Fürther Straße attractive for investors. The forecourt on the northern side of the Quelle area and the opening of the Quelle building to the city are also gaining in importance. At the same time, Muggenhofer Strasse is being upgraded and the function of the Maximilianstrasse / Fürther Strasse intersection as an entrance between the new, economic hub and the city.

Increasing the regional competitiveness of the knowledge location Weststadt: A new S-Bahn station along the Frankenschnellweg creates an optimal ICE connection.

The knowledge hub continues to densify in Weststadt and expands to the south in the direction of the S-Bahn station. The back of the Quelle building will be activated and Wandererstrasse will be upgraded. This increases the demand for housing. New residential typologies are now also being created in areas with redensification, such as the area of the former container train station.

Due to its large, excellently developed location and area potential, the Weststadt holds a special pound for the profiling of a contemporary and sustainable district, if it is possible to give the dynamic transformation process a corresponding direction. A strong model and a robust urban planning concept for the transformation locations are essential for this. This must be supported equally by a sustainable green and open space concept and an adequate usage concept. And Weststadt currently embodies a very dynamic business location, the perspective of which is of great importance in the context of the city as a whole. A profile oriented towards manufacturing as well as research, 30

development and high-quality services can emerge here, which can be linked to targeted support for the cultural and creative industries as well as the further development of the learning and educational landscape anchored in the district. The targeted settlement of university and research institutions that use the development environment and at the same time promote the profile of the location could be of particular importance.

According to the ‘’Integrated Urban Development of Süden’’ Report (2016) and further data collected through City of Nuremberg, Department of Urban Planning about transformation potential, the Süden has a potential that is currently unused or underutilized due to the old city structures and structural change. The northern area along the railway line is the main area of activity as the spatial focus. In addition to many small, underused areas, there is also greater potential for space that is currently used as a parking lot or similar. be used or lie idle. These areas and locations illustrate an urban development deficiency, imply a negative cityscape and often attract unwanted or less accepted uses. An upgrade and new usage perspectives for these areas - built on or as open space - can prove to be positive effects and impulses for the locations and their surroundings, since the revitalization of neighboring properties also increases the attractiveness.

Based on a 2010 survey of fallow land and underused areas in the south of Nuremberg, which also provided information about the ownership structure, there is a good overview for conceptual development approaches. Based on a survey conducted in 2016 Nuremberg Urban Planning Department defines under-used areas, that do not use the permitted building density (mostly garages, sheds and single-storey buildings) and fallow areas that are currently not assigned to any use. The survey shows that most of the properties are private own property.

The areas owned by the city are reduced to a few locations in the southern area (at the Federal Office for Migration and Refugees) and along the Franconian Expressway. They could be used as approaches for the reuse of fallow land and were therefore incorporated into a concept module. In its previous work, the area team has already devoted itself to this complex of topics and formulated the maintenance and revitalization of urban fallow land and the mediation of sponsorships for the temporary use of fallow land as objectives.

The high green and play area deficit in the south of Nuremberg could be counteracted by temporarily using such fallow land. The focus could be on a project that uses creative ideas to make the surroundings of the residential locations more attractive and to provide the people living there, especially families with children and the elderly, with 31

more space to stay and play. The linking of the existing open spaces with the planned measures to a spatial and functional network of open spaces, which spans the entire area, offers access from surrounding quarters and overcomes barriers, is of great importance. Temporary projects and interim uses through greening are conceivable, which are permitted and supported for a limited time.

In line with the transformation potential specified for both districts, it is planned to make investments in Weststadt to support the knowledge-driven economy. In the Weststadt region, serious infrastructure has been arranged to support creative industries and an environment for investors has been created. While this collaboration of the municipality creates new participation zones and office facilities for the creative class, strategies in the Süden region are mostly focused on updating the idle areas and increasing the visual quality of the surrounding buildings by creating new public and open spaces. The fact that most of the buildings in the regions that needed to be revitalized were private property made it somewhat difficult to make spatial production for the public good.

2.3.3 Creative Factors Diversity, Tolerance, Openness: As we mentioned previously one of the important elements that draw the creative class to a city is diversity and tolerance. And these features presented are expressed in the cosmopolitan atmosphere and describe places where there is a high tolerance for different types of people and their lifestyles. The creative class is generally an individualist group with non-conformist characteristics, and people from various backgrounds are effective in attracting these individuals (Florida, 2000b).

Accordingly, when we examine Nuremberg in terms of social structure, a very diverse structure has been observed, be it age groups, education levels and immigration backgrounds. Nuremberg has a long history of openness to migrants and, as a result, the population is very mixed in terms of race, religion and ethnicity. When we examine it on district basis.

The number of immigrants living in the region constitutes an important data for the cultural diversity factor. According to socio-demographic data obtained from Nürnberg City regional planning department, Weststadt and Süden get the highest value in terms of cultural diversity and housing the young population. Weststadt document presents the most immigrant variation. Subsequently, Süden follows it. The immigrant population of both districts is higher than the other districts of Nuremberg, the percentage of areas where the immigrant population is more than 40% covers more than the total area of 32

both districts. While the immigrant population is 33.14% in Weststadt, it is around 28% in Süden. A small part of the remaining immigrants of the city has gathered in Nord. As a result, the immigrant population is evenly distributed in Weststadt.

In these neighbourhoods with little green and park space, a high senior dependency ratio and a high youth dependency ratio overlap or are in close proximity.

These two age groups sometimes have very contradictory demands on the scarce open space.

Map 9. Socio-Demographic Structure Source: City of Nuremberg, 2015 33

These priority areas, 50% of which consist of single-person households, are home to a rather young and very colourful population. The proportion of green spaces and parks is low and predominantly very small.

Open spaces here are important recreational spaces, but also spaces for diverse social experiences.

Map 10. Socio-Demographics 2 Source: City of Nuremberg, 2015

34

Map 11. Migration Background Source: City of Nuremberg, Office for Urban Research and Statistics, 2019 In our district-based examination, it was discovered that a big percentage of children and young people live in Weststadt, so the district has a big social capital. The amount of children under 6 years old is about 1600 (which makes up 5,1% of all residents) and roughly 2100 of young people are under 15 years old. This tendency might keep on going, as the new dwelling projects oriented on young families are ongoing at the moment and the housing stock is being slowly updated. We can evince a big amount of families that require a special help. Almost every second family in Weststadt currently lives in a community in need. The number of youth services is also about twice as high as in the city as a whole, and is currently the highest in the Gostenhof. On the other hand, the amount of people over 60 years old is currently the lowest in the city: 22,6% 35

in Muggenhof and only 13,8% in Gostenhof (the difference is due to the large number of care homes in Muggenhof). It is also worth noting that compared to other parts of the city, Weststadt has the highest number of unemployed people, although the number of unemployed people is decreasing on average every year. A large proportion of Weststadt residents have a migration background. Almost one third of dwellers does not have a German citizenship. These are mostly families with many children and young people. These families are active and see the move to the city as a new opportunity for work education and entrepreneurship.

In the Süden, on the other hand, The trend towards an increase in the proportion of children under 6 years old from families with a migration background in relation to all children in this age group has remained stable for a decade. Many of these families live in or near poverty. Households with children living in charitable communities are concentrated in the south of Nuremberg in Steinbühl, St. Peter, St. Leonard, Schweinau, Sandroit and Bliveis. The quotas in the elementary schools of St. Leonard and the Friedrich Wilhelm Herschel school (Gibitzenhof), as well as in Wiesenschul (Steinbühl), exceed 50%.

In the entire Southern region of Nuremberg, the proportion of people over 75 is currently below the city average. However, in Sündersbühl, St. Leonhard, Gibitzhof, Hummelstein and Glockenhof there are settlements and residential areas in which this age group is already very well represented. The spatial distribution of the residences of residents with a migratory background and foreigners shows that they mainly live in the central districts "Südstadt", as well as in Sundersbühl, St. Leonhard and Schweinau. Assuming that these populations are dynamic, who have not yet lived long or even temporarily in the area, and also include more children, as well as adolescents and young people in the area, then these residents experience the area as a destination in the first place. to the city and an introduction to educational biography, as well as a stepping stone to their careers. The south of Nuremberg as a whole and individual regions will increasingly be shaped by this.

Altstadt is more international, the population is slightly growing there. The age structure is continuing to change. The percentage of elderly people is increasing, while we are evincing the trend towards decreasing amount of children and young people.

(Department of Urban Development City of Nuremberg 2012) However, although foreign-born population and immigration background is a distinctive feature for the creative class, when we focus on qualitative data rather than numerical data, it was stated by the municipality of Nuremberg that the regions with immigrant populations also cause some social difficulties on development phases. When we 36

examine it from this point of view, again, the regions of difficulty originating from immigrants are more observed in Süden. In this respect, Weststadt again ranks first in terms of young population and cultural diversity.

Another medium which is vital for the formation of creative industries, is universities where there are tolerance, norms and values shared by communities. University environment is a place that the cluster can benefit from a pool of talented workers, shows most of its tolerance for all kinds of people, different ways of lifestyles and offers knowledge share (Liu, 2007). University and campus facilities in each district were counted according to numerical data (see Map 5). As a result, Weststadt once again stands out as the place with the largest number of university facilities, with 7 campuses.

Urban Amenities, Liveliness, Quality of Place:

The quality and diversity of amenities are considered vital in attracting talented people to specific cities (Florida, 2000, 2002b). These amenities can be particularly identified as recreational, lifestyle and cultural amenities. They have impact on shaping the image of a city as an appealing, vibrant and interesting place in which to live (Brown & Męczyński, 2010). Accordingly, we have determined the existence of cultural centers, cafes and restaurants that provide opportunities for encounters on a human scale, and also the existence of public openings as indicators of the quality of place.

In line with the data obtained from the integrated urban development concept report of the Nuremberg Municipality (2016) and as a result of numerical analysis through Google Maps, we determined the number of these cultural and lifestyle spaces. In this map (Map 12), which includes theaters, libraries, museums and cultural centers, we conclude that the most cultural facilities are in Altstadt with amount of 33. Museums and theaters constitute the majority of this figure. On the other hand, considering that cultural centers provide higher opportunities in terms of human interaction, when we consider the cultural facilities which enables more interactions and active areas only as a cultural center, Weststadt takes the first place in this ranking with 4 cultural centers.

37

10 Theatres 17 Museums 5 Libraries 1 Cultural Center 6 Theatres 2 Museums

5 Theatres

2 Library

2 Museums

4 Cultural Centers

5 Libraries 1 Cultural Center

Nordstadt

Weststadt Altstadt

CBD

Südstadt

4 Theatres 0 Museums

1 Theater

2 Libraries

0 Museums

8 Cultural Centers

1 Library 3 Cultural Centers

Südweststadt

Theatre Museum Library Culture Centre

Map 12. Cultural Facilities (Authors’ Own) The Altstadt, with its diverse cultural and educational location, offers an attractive offer for the people of Nuremberg, but also for the region and the many tourists. The occupancy figures of theater, opera and drama as well as the enthusiasm for the cinema speak for it. The visitor quotas of the Germanisches Nationalmuseum make it a supra-regional lighthouse. Current and contemporary issues in the old town are proportionally underrepresented in the spectrum of institutions, although the network of museums of the city of Nuremberg with its other branches (Museum for Industrial Culture, Documentation Center for the Nazi Party Rally Grounds, Memorium Nuremberg 38

Trials) forms a veritable "knowledge landscape of Nuremberg" on the city-wide level. creates. Exhibitions that radiate nationwide bring continuous refreshment to local cultural life and attract nationwide guests. An exhibition room for special and changing exhibitions as well as a concert hall for up to 1,500 guests could be an interesting addition to the spectrum. Although it is a very dynamic position in terms of the cultural values it contains, families and tourists constitute the majority of the user base rather than addressing the artists directly.

In Westadt, on the other hand, the culture and the cultural offers are fed by a multitude of different institutions with different sponsors. At the special initiative of the Office for Culture and Leisure (KUF), the development of a cultural landscape oriented towards the economic and social transformation process in the district has begun in recent years through wide-ranging activities. It continues the special Nuremberg tradition of “culture for everyone” and the “culture shops” that have sprung up here. With the history workshop for the historical documentation of the Weststadt, the organization of district festivals, the establishment of cooperations and networks, the offer of a continuous children's theater, the development of accompanying measures on the subject of urban development (Muggle game, district discovery tours), various - A sustainable communal structure was created through participatory art projects in public space and many other measures, which reaches a wide range of different population groups (City of Nuremberg 2012).

With the lighthouse project Kulturwerkstatt Auf AEG, another building block was created and a permanent spatial location of culture in Weststadt was achieved. This has already took concrete forms. The property with Hall 3 on the former AEG southern area was acquired. In addition to socio-cultural offers in the tradition of a culture shop, the headquarters of the municipal music school, the KinderKunstRaum, the academy for school theater and theater pedagogy and the Centro Espanol found their place in the culture workshop Auf AEG. This radiant cultural institution is intended to strengthen the overall urban perception of Weststadt as a lively district. Above all, a wide range of cultural activities aimed to be created for the residents of the district by the City of Nuremberg. The new facility was intended to be a partner to local associations and organizations and provided space for many cultural and creative activities.

In addition to the institutions in the community, there are a number of other institutions in Weststadt that shape the culture of the district. This includes activities of the churches and religious communities, associations, interest groups and civil society actors through to new forms of cultural use of the public urban space as well as leisure activities through temporary actions and interim uses of fallow areas and objects. After all, the numerous offers for care, education and integration of residents in all age groups and with different life situations, lifestyles and support needs have a socio-cultural 39

dimension. They are part of a lively community and thus an essential pillar of the district culture.

1 Nordstadt

8 Weststadt

Altstadt

4

3 6 2

CBD

7 Südstadt

9 5

10

Südweststadt

Map 13. Festivals in the city of Nuremberg (Authors’ Own)

40

Festival highlights of the European metropolitan region Nuremberg

Source:Europäische Metropolregion Nürnberg 2011

Map 14. Festivals in the Nuremberg Metropolitan Are Source: European Metropolitan Region Nuremberg (2011) and City of Nuremberg (2019) Festivals and street arts events may be just as important in terms of attracting talented people to certain locations as they are vital contributors to street life, vibrancy and diversity and liveliness of the cities (Brown & Męczyński, 2010). In this regard, the districts where events such as festivals are presented constitute a more preferred 41

location for artists. While evaluating the locations of the festivals and events, we have added the accessiblity factors from each district to the the activities in the surrounding provinces in terms of geographic proximity. After Alstadt takes the first place, Süden comes after with 2 festivals. However, Westadt is the best located district in terms of ease of access to 7 different festivals, besides BückenFest, which is organized within its own borders in total. As a result of this analysis, when we evaluate criteria such as geographical proximity and the number of festivals, Alstadt is in the first place and Westadt takes the second place in line with these criteria.

Aesthetics, Environmental Quality:

As mentioned above, people from creative sectors prefer the built environment which has industrial characteristics and historical features. Considering the historical importance of Aldstadt, most of the historical buildings are located in this district.

However, most buildings in this area are under protection and are public property. On the other hand, the Weststadt and Süden region have come to the fore with their industrial character (City of Nuremberg, Urban Planning Department, 2016). This is a very interesting location for the creative class.

In addition to the measures of the quality of place, the other important criteria for creative people was a pedestrian-friendly environment that enables interactions more possible (Wood & Dovey, 2015). And pedestrian roads and bicycle lanes are very crucial for mobility. In this regard, through spatial analysis we have mapped the pedestrian zones and bicycle paths for each disitrict. Blue color represents main paths for bicycle, green represents pedestrian zones. All main districts of the city are to a greater or lesser extend accessible to pedestrians and bicycles. Altstadt has few bicycle roads, as it is mostly occupied by foot passengers. Therefore, the pedestrian paths prevail there. It can be seen that Südoststadt and Weststadt are more developed in terms of bicycle accessibility and they have a long term plan for extension of bicycle and pedestrian routs. Weststadt also has a strong connection with other parts of the city. Nordstadt and Südstadt have a strong network of bicycle roads, but comparing to other districts they lack a smaller pedestrian and bicycle paths. Due to its city center position, the Altstadt is good at having pedestrian-friendly roads, but it should be added to the crowded density of people. On the other hand, in Weststadt, besides pedestrian use, bicycle routes are better thought and planned. The bicycle path infrastructure has not been developed that much in Alstadt.

42

Nordstadt

Weststadt

Altstadt

CBD

Südstadt

Südweststadt

Main bicycle routs Main pedestrian routs

Map 15. Bicycle Roads and Pedestrian Zones (Authors’s Own)

43

There are several major green areas in Nuremberg. The major one goes through the city along the Pegnitz river and is called Nürnberg am Wasser (Nuremberg on water). It starts from Weststadt (Westfriedhof) and goes through the Altstadt to Nordstadt and further. It is one of the main pedestrian and bicycle path of the city. Altstadt is surrounded by green area in the historical border of the city. We can evince the lack of greenery inside the city centre.

Westfriedhof is the main green area of Weststadt. Also several small parks and alleys are distributed around the area evenly. Same can be said about Südstadt and Nordstadt. The greenest area of Nuremberg is Südoststadt

Nordstadt

Weststadt

Altstadt

CBD

Südstadt

Südweststadt

Map 16. Green Areas (Authors’s Own) 44

CONCLUSION CHAPTER 5 The objectives of this research were to understand main drivers of the locational choices of creative sectors and analyzing the economic, institutional and creative factors of creative industries. As a result of the evaluation of the spatial analysis in line with the collected data and determined criteria based on the literature, it was decided that the most suitable place for the art and design office is Weststadt.

The district has a comparatively young and dynamic population that corresponds with the transformation process on the industrial and infrastructure areas.The district network of social, school and cultural institutions is extensive. Cooperation and exchange with one another is lived. This ensures that the district has a broad knowledge base. In the social and cultural institutions of the learning and educational landscape, important integration offers and cooperations with regard to the needs of the district have been organized. The district culture has a long tradition in the Weststadt (especially in Gostenhof) and with the culture office AUF AEG has a new location and lighthouse with importance for the district and the entire city.

Both in Muggenhof (AEG) and in Gostenhof, urban milieus are developing that favor the establishment of the cultural and creative industries. This lives from the synergies of private, public and civil society engagement.

Due to its current development dynamics, its profile as a business location with an orientation towards the commercial and service sector and its grown bipolarity and diversity is a chance for a "district on the rise". Above-average achievements in the areas of social affairs, education and culture are fulfilling. Synergies, proactive strategies and partnerships between the institutions and offers supported by the municipality as well as initiatives and companies from business and civil society are of particular importance.

45

References: Asheim, B., & Hansen, H. K. (2009). Knowledge bases, talents, and contexts: On the usefulness of the creative class approach in Sweden. Economic Geography, 85(4), 425–442. doi:10.1111/j.19448287.2009.01051.x Branzanti, C. (2015). Creative clusters and district economies: Towards a taxonomy to interpret the phenomenon. European Planning Studies, 23(7), 1401–1418. doi:10.1080/09654313.2014.935930 Cang, P., & Wang, S. (2008). Studies on mechanism of industrial clusters around university based on ground theory – A case study of the industrial clusters around Tongji University. Tongji University Journal Social Science Section, 19(2), 115–124.

Chandler, V. (2012). The economic impact of the Canada small business financing program. Small Business Economics, 39(1), 253–264. https://doi.org/10.1007/s11187-010-9302-7 Chen, S., & Li, J. (2009). External linkages and the development of knowledge-intensive service industrial clusters. Science & Technology Progress and Policy, 26(12), 62–65.

City of Nuremberg, Urban Planning Department (2016). Integriertes Stadtteilentwicklungskonzept Weststadt., Retrived from: <https://www.nuernberg.de/internet/stadtentwicklung/integrierte.html> (in German) City of Nuremberg, Urban Planning Department (2016). Integriertes Stadtteilentwicklungskonzept Altstadt., Retrived from: <https://www.nuernberg.de/internet/stadtentwicklung/integrierte.html> (in German) City of Nuremberg, Urban Planning Department (2016). Integriertes Stadtteilentwicklungskonzept Süden., Retrived from: <https://www.nuernberg.de/internet/stadtentwicklung/integrierte.html> (in German) City of Nuremberg, Urban Planning Department (2016). Integriertes Stadtteilentwicklungskonzept Südost., Retrived from: <https://www.nuernberg.de/internet/stadtentwicklung/integrierte.html> (in German) Culture division of the city of Nuremberg, n.d. Cultural Promotion, Retrived from: <https:// www.nuernberg.de/internet/nuernbergkultur/kommunale_kulturfoerderung.html> Drinkwater, B. D., & Platt, S. (2016). Urban development process and creative clustering: The film industry in Soho and Beyoʇlu. Urban Design International, 21(2), 151–174.

Florida, R. (2002). The rise of the creative class: And how it’s transforming work, leisure, community and everyday life. New York: Basic Books.

Florida, R. (2005). Cities and the creative class. London: Routledge.

Frey, O. (2009). Creativity of places as a resource for cultural tourism Enhancing the City (pp.

135-154): Springer.

46

Foster, P., Borgatti, S. P., & Jones, C. (2011). Gatekeeper search and selection strategies: Relational and network governance in a cultural market. Poetics, 39(4), 247–265. doi:10.1016/j.poetic.2011.

05.004 Gertler, M. S. (2010). Rules of the game: The place of institutions in regional economic change.

Regional Studies, 44(1), 1–15. doi:10.1080/00343400903389979 Glaeser, E. L., Kolko, J., & Saiz, A. (2001). Consumer city. Journal of Economic Geography, 1(1), 27– 50. doi:10.1093/jeg/1.1.27 Gong, H., & Hassink, R. (2017). Exploring the clustering of creative industries. European Planning Studies, 25(4), 583–600. https://doi.org/10.1080/09654313.2017.1289154 Hassink, R. (2010). Locked in decline? On the role of regional lock-ins in old industrial areas. In R. Boschma, & R. Martin (Eds.), The Handbook of evolutionary economic geography (pp. 450–468).

Cheltenham: Edward Elgar.

He, J. (2015). Creative industry districts. Springer International Publishing. doi:10.1080/ 0810902042000218364 Hessler, M., & Zimmermann, C. (2008). Creative Urban Milieus, Historical Perspectives on Culture, Economy and the City. Frankfurt: Campus Verlag GmbH. Hall, P. (2000). Creative Cities And Economic Development. Urban Studies.

Jacobs, J. (1961). The death and life of great American cities. New York: Vintage Books.

Ji, H., & Zeng, X. (2017). Study about Industry Heritage Reuse in Urban Regeneration: Case on No. 8 Bridge in Shanghai. Urban Development Studies, 24(12).

Kuespert&Kuespert Immobilienberatung, (2020). Marktbericht Nürnberg, Retriever from: <https:// www.kuespert-kuespert.de/> Landry, C. (2012). The creative city: A toolkit for urban innovators (2nd ed.). London: Earthscan.

Lange, B., von Streit, A., & Hesse, M. (2011). Kultur-und Kreativwirtschaft in Stadt und Region.

Bonn: Heft des Bundesinstituts für Bau-, Stadt-und Raumforschung.

Lazzeretti, L., Capone, F., & Boix, R. (2012). Reasons for clustering of creative industries in Italy and Spain. European Planning Studies, 20(8), 1243–1262. doi:10.1080/09654313.2012.680585 Lazzeretti, L., Capone, F., & Innocenti, N. (2016). The evolution of ‘creative economy’ research.

Università degli Studi di Firenze, Working Paper N. 1/2016.

Liu, Q. (2007). The research on the creative cluster development surrounding university with city renewal – The case for the creative cluster surrounding Tongji University (doctoral dissertation).

Tongji University, Shanghai.

47

Lorenzen, M., & Frederiksen, L. (2008). Why do cultural industries cluster? Localization, urbanization, products and projects. In P. N. Cooke & L. Lazzeretti (Eds.), Creative cities, cultural clusters and local economic development (pp. 155–179). Cheltenham: Edward Elgar.

Maryunani, S. R., & Mirzanti, I. R. (2015). The Development of Entrepreneurship in Creative Industries with Reference to Bandung as a Creative City. Procedia - Social and Behavioral Sciences, 169 (August 2014), 387–394. https://doi.org/10.1016/j.sbspro.2015.01.324 Nuremberg Economic Development Agency. (n.d.). Business Locations, Retrived from: <https:// www.nuernberg.de/internet/wirtschaft/> (in German) O’Connor, J., & Gu, X. (2014). Creative industry clusters in Shanghai: A success story?

International Journal of Cultural Policy, 20(1), 1–20. https://doi.org/ 10.1080/10286632.2012.740025 OECD. (2018). Enterprises by business size. Retrieved from https://data.oecd.org/entrepreneur/ enterprises-by-business-size.htm.

Pirnay, F., & Surlemont, B. (2003). Toward a typology of university spin-offs. Small Business Economics, 21(4), 355–369. doi:10.1023/A:1026167105153 Scott, A. J. (2000). The cultural economy of cities: Essays on the geography of image-producing industries. London: Sage.

Serra, D. S. (2016). Location determinants of creative industries’ firms in Spain. Investigaciones Regionales – Journal of Regional Research, 34(34), 23–48. Retrieved from http://www.redalyc.org/ articulo.oa?id=28945294002.

Storper, M. (1995). The resurgence of regional economies, ten years later the region as a nexus of untraded interdependencies. European Urban and Regional Studies, 2(3), 191–221. doi:10.1177/ 096977649500200301 Turok, I. (2003). Cities, clusters and creative industries: The case of film and television in Scotland.

European Planning Studies, 11(5), 549–565. doi:10.1080/09654310303652 United Nations Conference on Trade and Development. (2019). UNCTAD's work on the Creative Economy. Retrieved from https://unctad.org/en/Pages/DITC/CreativeEconomy/CreativeEconomy.aspx.

UNESCO. (2006). Tourism, Culture and Sustainable Development. United Nations Educational, Scientific and Cultural Organization.

Verwijnen, J., & Lehtovuori, P. (1999). Creative cities: cultural industries, urban development and the information society: University of Art and Design Helsinki.

48

Van den Berg, L., Pol, M., Russo, A. and van Winden, W. (2004) Cities in the Knowledge Economy: A Literature Review and a Research Framework, The European Institute for Comparative Urban Research (EURICUR), Erasmus University Rotterdam, The Netherlands.

Wenting, R., Atzema, O., & Frenken, K. (2011). Urban amenities and agglomeration economies?

The locational behaviour and economic success of Dutch fashion design entrepreneurs. Urban Studies, 48(7), 1333–1352. doi:10.1177/0042098010375992 Wood, S., & Dovey, K. (2015). Creative Multiplicities: Urban Morphologies of Creative Clustering.

Journal of Urban Design. Taylor & Francis. https://doi.org/10.1080/13574809.2014.972346 Wu, W. (2005). Dynamic cities and creative clusters (Vol. 3509). Washington, DC: World Bank.

Yusuf, S., & Nabeshima, K. (2005). Creative industries in East Asia. Cities, 22(2), 109–122. doi:10.

1016/j.cities.2005.01.001 Zhang, X., & Hui, M. (2007). Creative Clusters: Basic Conceptions and International Practices.

Journal of Jishou University, 28(4).

Zheng, S. (2017). Urban Regeneration and Conservation of Historic Architecture in Shanghai, 690– 695. https://doi.org/10.16418/j.issn.1000-3045.2017.07.003. (In Chinese).

49

50

51