Table of Contents 1.0 Introduction
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2.0 The Positive Influence of The Creative Industries 2.1 Origins, Initial Policy Influences
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2.2 The Job Sector and Workforce Influences 4 2.3 Cultural Diversity and International Influences
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2.4 Globalisation Influencing Emerging Creative Spaces
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3.0 The Benefits of Creative Placemaking
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3.1 Creative Placemaking: City’s Ethos and Wellbeing 3.2 Creative Placemaking: Community Interaction
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3.3 Creative Placemaking: Supportive, Collaborative Networks
4.0 The Phenomenon of a ‘Creative City’
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4.1 How Has The Phenomenon of a ‘Creative City’ Impacted Dundee 4.2 Existing Hubs and Innovators within Dundee
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4.3 Creative Placemaking Emerging within Dundee
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5.0 Conclusion
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6.0 Bibliography
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7.0 Appendices
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1.0 Introduction
"Creative placemaking practitioners use artistic interventions to bring new perspectives (beyond just aesthetics) to communities, sparking vitality and creating an environment conducive to new ideas, creativity, and social engagement" (Chu & Schupbach, 2014 cited Mitchell, 2015). The phenomenon of a ‘creative city' is described through methods of strategic, creative placemaking, the promotion and close association with the creative industries sector as well as mindfulness towards how citizens live within their community. This phenomenon also allows us to analyse how to make a city's identity more attractive and visible, by cultivating talent and promoting culture (Durmaz, 2012).
The intentions of this essay are to reveal the positive influence the creative industries have had on the way our cities work and communicate through a brief history of the creative industries past and origins, to its present growth through creative placemaking, platforms, enterprises, and networks. This essay will also reveal the benefits of creative placemaking and establish how this can be explored within a UNESCO city of design. Dundee will be the selected area of study, as it is the only UK city of design presently. The research into creative placemaking will be broken down into the areas of a city's ethos and wellbeing, community interaction, and cultural identity (Rapson, 2013).These areas look to arrive at benefits, which will contribute to Dundee’s future.
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Further discussion will be established through out about how a city can achieve the phenomenon of a ‘creative city’ and how this has impacted Dundee will be covered. Overall these three main explorations will help develop an understanding and strategic template for designing a masterplan of creative buildings to be located within Dundee Seabraes Yard, an old unoccupied shipping yard within the Dundee waterfront regeneration scheme. This essay will also reveal why this space has been explored and hopes to develop business and design strategies that will best benefit the future of Dundee and communicate further creative city ethos.
2.0 The Positive Influence of The Creative Industries 2.1 Origins, Initial Policy Influences
The success of a ‘creative city' requires a strong association with the creative industries. The creative industries can be described as, "Those industries which have their origin in individual creativity, skill, and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property." (DCMS, 2001 cited Flew, 2011).
In 1997 the newly elected leader of the Labour party, Tony Blair, made the decision to create and develop a ‘creative task force' (Flew, 2011). This creative task force measured how much these ‘creative activities' positively influenced, firstly the contribution to Britain's economy and secondly new policies, which 2
could help develop the department of culture and media even further. The creative industries at this point were about creating potential wealth and jobs through "individual creativity, skill and talent" (DCMS, 1998 cited Flew, 2011). This statement was also backed up by the Minister for Culture and Heritage, Chris Smith stating "The role of creative enterprise and cultural contribution…is a key economic issue…creativity…is where the jobs and the wealth of the future are going to be generated" (Smith, 1998 cited Flew, 2011). Flew (2011) states this creative establishment was carried through by Gordon Brown in 2007. Blair firstly was keen in further creative investment stating "Our aim must be to create a nation where the creative talents of all the people are used to build a true enterprise economy for the 21st century" (Blair, 1999 cited Flew, 2011). This quote suggests creative talent would have a further positive influence on the economy. Brown added that "in coming years the creative industries will be important not only for our national prosperity but for Britain's ability to put culture and creativity at the centre of our national life" (DCMS, 2008 cited Flew, 2011). This quote at the time suggests that within the next few years, the creative industries were going to flourish, and positively influence social status for Britain.
This evidence demonstrates the importance placed on the creative industries and how encouraging a ‘creative city', may be expected to affect an economic and social benefit both locally and nationally.
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2.2 The Job Sector and Workforce Influences
The Creative Industries play an important role within the job sector. This statement is conveyed through the rates of employment in which the creative industries generate stating, there has been an increase "by 3.2 percent between 2014 and 2015 to 1.9 million jobs. This was an increase of 19.5 per cent since 2011" (DCMS, 2016). These impressive figures show the positive influence the creative industries have upon the job sector.
Looking at the 'creative workforce' as a whole, Flew (2011) suggests that the creative industries workforce is a large field; understanding that creativity can take many different forms will help establish a ‘creative city'. This understanding will also allow us to consider how to best accommodate and encourage businesses and individuals to work creatively. To work creatively doesn't necessarily mean 'painting and the arts' but to be within the right environment which encourages productive workflow. This issue begs us to question the concept of creativity as a defined field within the industry (Flew, 2011). Flew (2011) comments that it is unknown how to determine the scale and size of the creative workforce. This could be due to people working within this creative industry sector may not be recognised as having a ‘creative job', suggesting that stigmas are emerging where "everything is creative" and there is a lack of understanding. Flew (2011) suggests that this lack of understanding creates a 4
negative ‘one size fits all’ strategy. The creative industries, however, try to positively influence a more 'tailormade' approach for the creative workforce to continue thriving.
This 'tailormade' approach, which the sector encourages, consists of understanding exactly who is working within the workforce and how these employees best work (Macdonald, 2013). Macdonald (2013) also comments, "the creative industries are now seen as important socially as economically". This quote suggesting that the workforce is important from an economic perspective but also socially for how they best work and engage with workflow. Macdonald (2013) also highlights that "social and economic innovation" comes from creating multiple creative strategies, which embody "design thinking". For example, "collaboration, cocreativity and codesign, and crossdisciplinary". This quote highlights creative strategies in which the creative industries have influenced.
2.3 Cultural Diversity and International Influences
Cultural diversity and trade between international countries and cities contribute to the success of a ‘creative city'. This is done by the creative industries ‘international strategies' they have created. These strategies firstly look to increase exports. This is demonstrated by impressive figures stating, "The value of services exported by the UK creative industries rose by 10.9 per cent to total £19.8bn in 2014" and "Creative services now account for 9 per cent of all UK
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service exports" (HM Government, DCMS, 2016). Looking at these successful statistics, this has influenced the Government to improve further by doubling exports ambitions. This ambition looks to increase the number "of creative companies supported per year from 7,500 businesses in 2013/14 to 15,000 per year by 2020" (DCMS, 2016). The Seabraes site can take advantage of this policy by encouraging creative industry businesses to set up and begin generating more exports/trade within Dundee UNESCO City of Design.
Secondly, these strategies look to encourage cultural diversity. Flew (2011) discusses that the creative industries established two key models to blend international relations. They are proposed by UNESCO (The United Nations Educational, Scientific and Cultural Organization) and UNCTAD (United Nations Conference on Trade and Development). Focusing on the UNESCO strategy, UNESCO originally came about in 1945 with the intentions to create order between nations, following two world wars. Their aim is to build a network among nations, which is more than just political and economic (UNESCO, 2016). Flew (2011) states that UNESCO has promoted the principle of cultural diversity through preserving diversity between nations. UNESCO has done this so far by recognising innovation through science and art within five cities.
A city which has benefited from this recognition is Dundee, Scotland. The city was recognised by UNESCO in 2014 "for its diverse contributions to fields including medical research, comics, and video games". (Dundee City, 2016). Dundee was added to the UNESCO network of "creative cities" alongside European cities: Turin, Helsinki, Bilbao and Curitiba in Brazil. The title 6
"recognises the design innovations Dundee has contributed to the world, including aspirin, biomedical research which has led to hundreds of new cancer drugs, comics including the Beano and Dandy, orange marmalade, and video games including Lemmings and Grand Theft Auto." (Dundee City, 2016). This establishment of a UNESCO title for Dundee created many positive benefits influencing economic, social and educational sectors ((Dundee City, 2016).
2.4 Globalisation Influencing Emerging Creative Spaces
The creative industries have had an influential role with Globalisation. They have encouraged the emergence of creative spaces and increased the rise of regional trade as well as political policies (Flew, 2011). The creative industries here have influenced a closer association between a city and the impact of globalisation. Flew (2011) suggests that this impact on cities was not expected and establishes that a city has always been a place where "capitalist modernity" has been at the centre. Flew (2011) suggests that this is due to the rise of industries which have encouraged "a large scale of migration" from the "countryside to urban centres…where businesses have clustered to take advantage of economies scale and diversity of resources" (Flew, 2011). The increase in this close association conveys that cities are "seen to be exemplary spaces of cultural modernity, in so far as they have been sites for the incubation of new ideas, bringing together people from diverse cultures and backgrounds, generating new opportunities for entrepreneurial activity, and separating
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individuals for better or worse from ties and boundaries associated with cultural tradition" (Flew 2011).
These clustering businesses and emerging creative spaces Flew (2011) suggests can be referred to as 'creative clusters and hubs'. Simon Roodhouse, a professor in the creative industries, comments that it can be looked at as a "geographical area of a large town or city which acts as a focus for cultural and artistic activities through the presence of a group of buildings devoted to housing a range of such activities and purpose designed or adapted spaces to create a sense of identity, providing an environment to facilitate and encourage the provision of cultural and artistic service and activities" (Roodhouse, 2006 cited Flew 2011). Roodhouse's review on creative clusters also mentions "by finding a new use for old buildings and derelict industrial era sites… as art centres, apartment buildings, and creative workspaces" this could create motivation for creativity within a region of a city" (Roodhouse, 2006 cited Flew, 2011).
Roadhouse's suggestion of "art centres, apartment buildings, and creative workspaces" links to a creative placemaking strategy to be explored where people can live, work and play. Overall, the creative industries have demonstrated here profound influence for forming 'a creative city'.
3.0 The Benefits of Creative Placemaking 3.1 Creative Placemaking: City's Ethos and Wellbeing 8
Creative Placemaking can be greatly beneficial for a city's ethos and general wellbeing. The understanding of how to manifest a city's community spirit and culture can help produce a ‘creative city'. Kate Oakley, a professor of cultural policy, observes that “creative industries at the time were being developed without suitable attention being given to place specifically; essentially a creative economy needs a university, some incubators and a ‘creative hub' with or without a cafe, galleries and fancy shops" (Oakley, 2004 cited in Flew, 2011). Oakley's statement here emphasises the importance of creative placemaking within a city, understanding what a city’s needs are and what type of spaces are required to benefit its best interests and ethos.
The scale of creative placemaking can vary, from the shaping of "the physical and social character of a neighbourhood” to a “ town, city, or region around arts and cultural activities" (Borrup, 2016). Borrup (2016) highlights that creative placemaking benefits can stimulate both "public and private spaces", as well as improve "local business viability". Bringing "diverse people together to celebrate, inspire, and be inspired" (Borrup, 2016).
How can this be explored within a UNESCO city of design such as Dundee? This essay will look at applying Oakley's themes of accommodating a city’s best interests to Dundee and The Seabraes site. Firstly Dundee is known for its gaming, gambling and software companies. Within the creative industries, gaming is the leading sector for generating exports. With a figure of 7,210 exports currently (HM government, DCMS, 9
2016). Secondly, this area is already established within the Seabraes site. This establishment being, 'District 10' a creative industry coworking space. Overall, for the best interests of the city and site, it would be wise to target this IT sector as well as focus on how to manifest the Dundee city ethos into the location.
3.2 Creative Placemaking: Community Interaction
An increasingly popular planning strategy for architects and organisations is called 'LWP'. This method of creative “placemaking describes the positive results that can arise from an authentic Live, Work, Play orientated project" (Philippi, 2016). The types of spaces within this form of creative placemaking are "compact, connected, walkable, relatively dense mixeduse/multiuse, primarily employment oriented sites."(Philippi, 2016)."The complex layers of the space juxtaposed with urban form and landuse activities should interlink to create a sense of community" (Durmaz, 2012) and space for people to live, work and play. The benefits of this creative placemaking seem to be a more efficient, cultural way of life where community interaction would be greater due to the proximity of users, therefore allowing more opportunity to collaborate and thrive.
How can this be explored within a UNESCO city of design, Dundee?
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This type of creative placemaking is a concept in which The Seabraes site looks to adopt. Currently, in Dundee, The Festival of Architecture has been very active, including the promotion of a public sketch competition. This competition invited members of the public, schools, and professionals to get involved and think about a design which would "celebrate, support and enhance our young people's health & wellbeing, imagination, and learning with fun and play providing the core for your idea" (Festival of Architecture, 2016). The design was to be a part of the Dundee Seabraes site, which this essay is exploring. The brief stating that the Dundee site is "renowned for its expertise in digital media and creative industries" (Festival of Architecture, 2016). With the location being "a former railway goods yard provides a dedicated space to build on these successes by becoming a hub for the digital media and cultural industries, incorporating both commercial and residential space." (Festival of Architecture, 2016).
The public competition asks to design one small section of the site. However, this essay looks to tackle the entire urban plan. With the brief suggesting, the site could become a hub, incorporating residential living space as well as commercial and creative industry offices. This competition links strongly with the ‘LWP' placemaking strategy already established. This contest was truly inspiring providing evidence that there is, in fact, an ongoing dialogue about what the site could be, as this validates this essay topic.
3.3 Creative Placemaking: Supportive, Collaborative Networks
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One of the ways in which a city could establish support networks can be creative collaboration. The BritishIrish Council (2015) has comprised a report that highlighted examples of Scottish networks, which have had success in creative collaboration.
Scotland is home to multiple creative platforms. An example, Creative Scotland. Creative Scotland is a big driver for the creative sector; they team up and collaborate with other creative city platforms such ‘Creative Dundee' and ‘Creative Edinburgh'. This crossplatform collaboration helps supports local creative industries and benefits Scotland's residents, workforce, and visitors. This further generates innovative identity as they provide opportunities for organisations and people to experience the creative culture by supporting great ideas and trying to make them a reality" (Creative Scotland, 2016).
An example of Creative Scotland teaming up with the city of Dundee is when the organisation took part in a talk called ‘Creative Scotland: The Future of The Creative Industries and Funding Opportunities Creative Futures Week' at Duncan of Jordanstone, College of Art and Design, Dundee. Clive Gillman, director of creative industries and creative Scotland, spoke about themes of a ‘creative city'. Gillman also talked about how to support local creatives in the phase of transitioning from graduate to industry quoting, "Creative Scotland understand the challenging process of graduating and going into contemporary practice… a social system which supports practice is important as well as maintaining social capital and amplifying creative happenings" (Gillman, 2016). 12
This talk provides evidence that Creative Scotland is actively providing support for local creativity.
The Scottish Cities Alliance is another creative platform example, which recognises and supports the creative sector through crosscollaboration of Scotland's seven cities. These cities are Aberdeen, Dundee, Edinburgh, Glasgow, Inverness, Perth, and Stirling. With a U.K creative industry focus, the alliance aims to "support and promote…groundbreaking opportunities on offer across the cities” (TSCA, 2016). The alliance is also pursuing a project to create cultural and creative industry hubs in each city with the aims to support local artists and businesses as well as provide workspaces, which are affordable especially with consideration for "startups and microbusiness". They believe that the project has the capability to increase, by effectively linking all seven cities, adding substantial value to the creative communities. The alliance has high ambitions for the economies of all the cities; they pursue these ambitions by choosing carefully "highquality locations in which to do business” (TSCA, 2016).
How can this be explored within a UNESCO city of design, Dundee? This ambition to create cultural and creative industry hubs in each city includes Dundee's Waterfront development, in which the Seabraes site is located. This supportive evidence reassures that the Seabraes site has the support to become a design district. The Scottish Cities Alliance also supports Dundee by recognising, “Dundee is a young city, 51% of the population is under 40. With a student to population ratio of 1:6, the highest in Scotland, Dundee’s talent pool 13
is skilled, multicultural and highly educated” (TSCA, 2016). These local creative networks have connections will all the other seven cities, and this should further support the ideas, events and strategic planning that the Seabraes site is to have.
4.0 The Phenomenon of a ‘Creative City.' 4.1 How Has The Phenomenon of a ‘Creative City’ Impacted Dundee?
Firstly, how can the phenomenon of a ‘creative city' be achieved? This essay so far has explored the positive influences the creative industries have in a city and the benefits of creative placemaking for a city. These two sections have already established how this will be explored within Dundee, a UNESCO city of design and now this essay looks to study the impact.
This phenomenon will be explored firstly by looking at existing hubs and innovators who have made an impact maintaining the Dundee creative reputation. Secondly, by looking at examples of creative placemaking emerging within Dundee. The aim of this section is to gain inspiration by gathering and learning methods, which have succeeded in the area. These explorations will be done with a series of interviews and local research, consent forms were signed prior to each interview (see appendix 1).The evidence found will help establish a strategic creative placemaking template, further leading to the development of a ‘Seabraes Design District’.
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4.2 Existing Hubs and Innovators within Dundee
From creative hubs to social enterprise spaces to community interest companies. This section looks to recognise existing hubs and innovators within Dundee, which have also benefited from the impact of the UNESCO title. The interview dialogue that will emerge has been encouraged by asking what Dundee's key aims and objectives are, the benefits of creative placemaking within Dundee and suggestions of how this could be explored within the Seabraes site.
V&A Museum of Design Dundee
First and foremost "The V&A Museum of Design Dundee will be an international centre of design for Scotland the first ever design museum to be built in the UK outside London" (V&A Museum of Design Dundee, 2014). The museum design was part of an international competition where "an expert panel" picked Japanese architects Kengo Kuma & Associates as the winners. For Dundee, this was very exciting as the "V&A Dundee will be Kuma’s first British building" (V&A Museum of Design Dundee, 2014). Kuma's visions for it to "become a new "living room for the city" are shared with the V&A stating it is also to become, "a place for all to enjoy and be inspired" (V&A Museum of Design Dundee, 2014).
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In preparation for the opening of the museum in 2018, the V&A have been running a "dynamic programme of events and activities" (V&A Museum of Design Dundee, 2014). These programmes have involved school pupils as well as the Dundee community. In particular, the museum will be running a "design led business innovation (DLBI) strand” which will "place creativity at the heart of business, be they creative industries, startups or established multinationals. DLBI will be a visible design and innovation hub” (V&A Museum of Design Dundee, 2014).
The V&A also have looked into an economic impact study, which highlights the diverse ways the museum will positively impact the city. The evidence found suggests that the V&A will "support new hotel development in Dundee; encourage inward investment into Dundee Waterfront, accelerating its development; lead to the creation of many tourismrelated jobs and broader job creation in Scotland by driving design led business innovation” (V&A Museum of Design Dundee, 2014).
This type of innovation is something in which Dundee will greatly benefit from; it demonstrates that there is already an understanding where creative industries, the job sector and design innovation need further supported. The Seabraes Design District looks to take on these ambitions the V&A have, and it is evident the V&A would be a key supporter of the Seabraes development.
Gillian Easson, Creative Dundee 16
Creative Dundee is another main creative facilitator for the area. Gillian Easson is the curator of the enterprise and demonstrates a very clear and insightful outlook for the city. Creative Dundee's three fundamental outlooks are to “amplify, connect, and collaborate” (Creative Dundee, 2016). The business is a small social enterprise supported by Creative Scotland.
Through interviewing Gillian Easson, Creative Dundee, this essay was able to reveal very insightful, creative examples in which Creative Dundee is involved. Easson revealed ideas of how to creative place make for the Seabraes site, supporting the idea and sharing information from a meeting she had with a business advisor for Creative businesses. Easson stating that they had discussed the challenge of space in a city, whether this was space to make, to perform, to sell or to produce. Looking at Wasp Studios, a rentable studio space within Dundee, Easson mentions that there is a long waiting list for creatives to be facilitated. Easson suggests this type of space is a ‘wet space’, which means messy, paint, and creative making which is sparse compared to the space Creative Dundee is based in, the vision building, which is a ‘dry space'. This studio space suggests office type, laptops and paperwork space. Easson mentions that Dundee is aware of this issue and that there is an active dialogue about resolving it. This comment provides evidence that the Seabraes site could allow more ‘wet' space in the form of coworking studios or private living and studio space. When discussing with Easson the creative place method of Live, Work, and Play, Easson agrees, "there is something there about how people can come and stay in the city and experience the city". 17
Looking at some key aims and objectives, Easson discussed some social issues, which currently require attention and it could help provide the purpose for the Seabraes Design District. Easson mentions that Creative Dundee is currently developing a creative industries strategy for the city because it is a priority sector for the Scottish Government, Council and Scottish Enterprise. This evidence from the Scottish Government demonstrates how topical the phenomenon of a ‘creative city' is. Overall, Easson highlights three clear things that have come to light and Creative Dundee hope the challenges will be adopted across the city. Firstly ‘Space and resource' This means how will we access space and resource during times of financial constraint and how do we make sure that the resources that we do have are being used well. Secondly, ‘Talent retention and attraction', this means "making the city sticky" and creating a magnet for talent and for people wanting to stay and move to Dundee. Thirdly, ‘connecting out with the sector', meaning to break the creative industry bubble. This objective suggests looking at how creativity can affect housing and health and wellbeing. Lastly, these three objectives suggest that what is needed is a space that brings people together from different backgrounds, not just creatives, medical and science also. Allowing different collaboration develops new solutions, which could help Dundee and the wider world.
Hazel White, Open Change
Open Change seems to be leading the way with innovative service design strategies for Dundee. They encourage members of the public, businesses and 18
creatives to create positive change (Open Change, 2016) This positive change is what The Seabraes Design District looks to do; bring positive change to Dundee in the way of creative placemaking and facilitating.
Through interviewing White, she briefly discussed her background in service design at Duncan of Jordanstone, Dundee University to now working and running her service design network. White discusses that open change helps teach service design skills to employees and employers to create better work environments and systems. This shift in systems relates to the education sector too, for teachers, pupils, and parents.
Openchange also have close association with all creative activities going on within Dundee. This is through local events where service design can be stimulated into the city, encouraging new ways of thinking. When discussing the Seabraes project, White was on board with the concept of there being a space which could facilitate workshops for both the public and creatives. White supports suggesting an offsite from Duncan of Jordanstone (Collage of Art and Design, Dundee), flexible space would be great addition to the city. White suggested the space could host, “outreach workshops and service jams” where “service design could be taught… like a city lab with nontraditional backgrounds" (White, 2016)
Stewart Murdoch, Director of leisure and communities, Dundee City Council
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With presenting ideas for the Seabraes site to Stewart Murdoch, director of leisure and communities, supportive insights emerged discussing the artistic movement Dundee is undergoing. Murdoch highlighted that there is current discussion about further creative placemaking. This was brought to light by the mention of Scottish Enterprise, which owns the Seabraes area. When discussing the aspirations for the site, Murdoch agreed that there is indeed a lack of ‘wet' studio space for creatives and supported the analogy of adopting a live, work, and play concept. With a focus on 'Play', Scottish Enterprise is looking to design new auditorium/ live music/ conference venue. With an active interest, this could be taken on for the play element of the site. Murdoch comments, "the piece of work being commissioned by Scottish Enterprise is not unique to Seabraes Yard, which they own". However, Murdoch supports the Seabraes site by stating, "The demand is there" and "the Seabraes site would be one of many sites that would be considered if the feasibility study came to a positive conclusion."
4.3 Creative Placemaking Emerging within Dundee
Dundee and the Scotland have a great selection of creative placemaking examples already emerging. These spaces vary from coworking spaces to art residency spaces as well as developing infrastructure. The spaces discussed in this section all embody methods of Live, Work, and Play, which the Seabraes site looks to adopt. The aim of this section is to gain inspiration by gathering and learning methods, which have succeeded in the area.
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The Circle Dundee Nicola Donnelly
Dundee is recently home to a new community interest company called,The Circle Dundee. This space has been creatively placed by the cofounders Kirsty and Nicola to help "develop affordable workspace for charities, social enterprises, and businesses” (The Circle Dundee, 2016). This platform takes the form of “offices, coworking and bookable spaces” and they also have space for “a community cafe and gardens" (The Circle Dundee, 2016).
With a business and communityorientated approach this example of creative placemaking within the Dundee area demonstrates how to further enhance the city's creative business ventures and entrepreneurship.
Fleet Collective
Fleet Collective is a wellestablished Dundee creative coworking space. Over the past five years, Fleet has become "an important creative hub in Dundee" and their "model as a collective has been commended and internationally recognised" (Fleet Collective, 2016). This international presence is because they "are a community interest company, and all profits are fed back into the collective to grow facilities and resources" (Fleet Collective, 2016).
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In summary, Fleet Collective aim to provide rentable space for coworking. This space includes desk space aimed at either freelancers or small businesses of any field. They also aim to represent their members by promoting their work for clientele; opportunities to exhibit/ showcase and earn commissions. Lastly, they aim to pitch ideas collectively, this providing a broad range of skills and creative solutions to suit all types of clientele (Fleet Collective, 2016).
District 10 – Scottish Enterprise
Thirdly, District 10 is located on the Seabraes site as previously mentioned. The building is owned by Scottish Enterprise and is a unique, creative and sustainable design. The Building is "constructed out of 37 recycled shipping containers" and is "the first of ten buildings for early stage creative companies in the heart of Seabraes Yard" (Scottish Enterprise, 2008). This quote justifies one of the main reasons why the Seabraes site has been chosen to creative place
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make. As already established, there is constant active discussion about the development. Scottish Enterprise explains that the building has "a bookable meeting room to meet customers and a communal kitchen area to meet your creative neighbours, it could be just the place to get your business established" (Scottish Enterprise, 2008). The design was placed within Dundee due to its "expertise in digital media and creative industries" (Scottish Enterprise, 2008).
Scottish Enterprise then discusses the site's position within the Dundee waterfront scheme stating, "Seabraes is one of five zones that make up the Dundee Waterfront" and "It is the second largest regeneration project in Scotland and one of the top twenty such projects in the UK" (Scottish Enterprise, 2008). Concluding this, the Seabraes site appears to be the ideal location for a Design District to be developed. Scottish Enterprise again backs up this conclusion by stating, "the idea is that Seabraes will become the centre of Dundee's creative industries. It is within walking distance of the proposed V&A at Dundee, the University of Dundee/Duncan of Jordanstone College of Art and Design, Dundee Contemporary Arts and the University of Abertay Dundee" (Scottish Enterprise, 2008).
The DCA, Dundee Contemporary Arts resident artist flat
The "DCA is an organisation that has established itself as a major force in contemporary art, cultural cinema and community and education practice and 23
as a vibrant social and cultural hub" (DCA, 2016) within Dundee. It is a space to come and experience art as well as promote one's self as an artist. Looking back at Creative Dundee's interview, Easson brought to light that the DCA interestingly enough have their own flat for artists to stay in, the idea that when an artist needs to be at the venue to install their work they can stay for convenience.
This theme of accommodation/ residency for an artist seems to be important and a growing consideration. Easson comments that "working and living is all linked and that is where challenges for people that have low incomes come in unless you have your living situation sorted it can totally play havoc on your working life” (Easson, 2016). She then backs this comment up by suggesting, "there is something there about how people can come and stay in a city and experience a city” (Easson, 2016). This theme of residency links to what the Seabraes design district will have, a part of the site will be dedicated to residential providing accommodation options and studio space.
Studio Dundee
Studio Dundee is a space planned to be built within the Dundee waterfront scheme in the coming years, led by developer Our Enterprise, design consultancy and architect HTA Design LLP and Dundee City Council. This space will consist of two buildings for the intentions of "designers to work in, live in and showcase their projects" (Dawood, 2016).
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This design suggests the live, work, and play concept, which Seabraes is to embody. The project has been funded by £20 million, which emphasises the demand and need for a space like this. Studio Dundee suggests it is about "retaining Dundee's graduate talent" (Our enterprise, 2016) as well as describing themselves as "an investor in social good" and are about creating “beautiful places for people to live, work and play". (Matthew Bell, 2016 cited Dawood, 2016)
The Seabraes Design District looks to create a space like this but on a larger scale where there is room to create an urban layout, sympathetic to its location rather than be restricted to two simple building blocks. Studio Dundee's concept is an exciting piece of research to be discovered, to see that other creative platforms are on the same wavelength of creative placemaking especially this live, work and play concept. Of course with this project being a conceptual planning idea, it is great to see a reallife Dundee business, begin to bring it to reality.
Hospitalfield
Hospitalfield is a building based in Arbroath, half an hour outside Dundee. This space offers a "contemporary art programme" which "is anchored in the visual arts yet encourages interdisciplinary". This programme is done through events, workshops and the opportunity to sign up to residency and summer school programs.
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Hospital field state that they "maintain strong national and international working partnerships with the aim of making Hospitalfield a meeting place and cultural catalyst in the working lives of artists and creative professionals in Scotland and far beyond" (Hospitalfield, 2016). This statement conveys everything in which the creative industries look to influence. The Seabraes design district looks to design a series of programmes which allow artists to take part in workshops, events within the main hub, part of the 'play' space. This main hub, in turn, should further educate, provide experience and skills to value portfolios /cv further.
Cove Park
Another inspiring space similar to Hospitalfield is Cove Park, based up in the North of Scotland. Cove Park is a tranquil place where artists can stay and allow themselves to work productively. Cove Park is a perfect example of showing the importance of the environment for creative thinking and making. The organisation aims to "actively respond to the diversity of contemporary artistic practice in all the art forms, whether performing or visual arts, crafts, literature or music" (Cove Park, 2016). The organisation has a range of “interdisciplinary programmes, for both individuals and collaborating groups, offer time, space and freedom to make new work and to find new ways of working." (Cove Park, 2016)
Cove Park also demonstrates an unyielding cultural diversity through strong international presence as they state that the countries that artists have travelled 26
to Cove Park range from Australia to China. With an impressive full list of international artists, this just goes to show by being sensitive to a creatives needs and environment can reach out to a diverse audience.
Nicoll Russell Studios Graham Steel
Nicoll Russell is a Dundee based architect firm, which has had an enormous amount of involution and influence within the Dundee creative scene. The practice has designed Dundee creative spaces such as the rep theatre and now the anticipated new Dundee Train Station. The new station is at the heart of the creative developments, neighbours with the V&A, which are both currently being built at the same time. The practice has also created innovations for the city through connectivity. Nicoll Russell designed the Seabraes Footbridge which allows a user instant, quick access from the Perth Road to the waterfront.
With interviewing senior architect Graham Steel, Steel gave insight into the Seabraes site stating it is built on reclaimed land and has an interesting shipping yard history. Steel gave strategic examples of how they tackled the design of the bridge, which sits on the Seabraes design district site, and explains it was all down to landscape constraints and location. Steel suggests design insights for the site suggesting that with an "interesting landscape flow and motion between spaces would be good… connecting all three sites … also the bridge we designed could connect into the site" (Steel, 2016). Steel also comments upon the aspirations to create a residential area commenting, "the
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residential part of the design could finically pay for the site…also, make sense of existing district 10… this could be through material and form" (Steel, 2016).
5.0 Conclusion
The Creative City Phenomenon: What are the benefits of creative placemaking. Summarising the benefits of creative placemaking this essay has found, the benefits include; the improvement in business vitality and the union of diverse people coming together to celebrate, inspire and be inspired. The manifestation of a city's ethos and a sense of community where people live, work and play. Proximity of space, allowing stronger community interaction and networking opportunities. The establishment with local creative support networks, further benefiting residents, tourists and workers.
How can this be explored within a UNESCO city of design? These benefits found were explored within the UNESCO city of Dundee and the particular site, Seabraes Yard. These locations were chosen because of the site's ambitions to accommodate creative industries, the currently developing waterfront scheme and UNESCO status gained. Taking into consideration, of all the themes explored and mini-conclusions made throughout this essay, using Dundee, Seabraes as the area of study, these conclusions were able to develop a strategic design template for a ‘Seabraes Design District'. Through research, it is clear that the development of the design district would be an additional asset within the Dundee waterfront regeneration scheme. This ambition has evident support from 28
local creative innovators. This essay has also revealed research that evidently shows the importance of a 'creative city', through statistics, examples of positive influences and benefits. Therefore reinforcing it is a priority sector. The Design District looks to embody methods of creative placemaking established, continue close association with the creative industries, encourage greater community interaction and look to best benefit the future of Dundee and communicate further creative city ethos.
To conclude, 'The Seabraes Design District' is to embody the creative placemaking concept; Live, Work, and Play. The 'Live' area will have residential apartments with personal studio space ideal for resident artists, industry employees, and visitors. The 'Work' area will continue facilitating creative industries in conjunction with District 10, taking on a coworking and hot desking approach. The 'Play' area will have a main 'creative hub’, which acts as a reception, destination point, and public space where events and workshops will be hosted. The aims for the Design District are to reach out: Locally, maintaining Dundee's UNESCO reputation and future goals. Nationally networking with the other seven Scottish cities and lastly, internationally encouraging tourism and trade. Overall, this essay has revealed dynamic ways to execute creative placemaking in a UNESCO city of design. Using Dundee, Seabraes as the area of study, 'The Seabraes Design District' was able to arrive at a design template, inspired by the strategic methods this essay researched into. The ‘Seabraes Design District’ looks to embody methods of creative placemaking established, continue close association with the creative industries, encourage greater community
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interaction and look to best benefit the future of Dundee and communicate further creative city ethos. 6.0 Bibliography BritishIrish Council, (2015) A Creative Collaboration: Creative Industries Sector Report 2014/15. [report] britishirishcouncil.org. Available at: https://www.britishirishcouncil.org/sites/default/files/attachments/4.%20%20Cre ative%20Industries%20Report_2.pdf Borrup, T. (2016) Creative Placemaking: Arts and culture as a partner in community revitalization. [report] creativecommunitybuilders.com. Available at: http://creativecommunitybuilders.com/wpcontent/uploads/BorrupCreative Placemaking2016UMASS.pdf Chu, J & Schupbach, J. (2014) Our Town: Supporting the Arts in Communities Throughout the United States. [review] frbsf.org. Available at: http://www.frbsf.org/communitydevelopment/files/ourtownsupportingthearts incommunitiesacrossamerica.pdf Creative Dundee. (2016). Creative Dundee: About. [online] creativedundee.com. Available at: http://creativedundee.com/us/ Creative Scotland, (2016). Creative Scotland: What We Do. [online] Available at: http://www.creativescotland.com/whatwedo Dawood, S. (2016). £20 million project will see new design hub in Dundee. [article] designweek.co.uk. Available at: https://www.designweek.co.uk/issues/8 14february2016/20millionprojectwillseenewdesignhubindundee/. DCA. (2016).Organisational information:Dundee contemporary arts. [online] dca.org.uk. Available at: http://www.dca.org.uk/about/organisationalinformation. DCMS. (2016). Key findings: Employment. [report] gov.uk. Available at: https://www.gov.uk/government/publications/creativeindustries2016focus on/keyfindings. DCMS. (2016). Creative industries: Focus on employment. [report] gov.uk. Available at: https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/5 34305/Focus_on_Employment_revised_040716.pdf. Donnelly, N. (15/11/16). The Circle Dundee Interview. [interview] Dundee City, (2016) Dundee: UNESCO City of Design. [online] dundeecity.gov.uk. Available at: http://www.dundeecity.gov.uk/unesco. Durmaz, S.B. (2012). Creative Clusters and Placemaking: Analysing The Quality of Place in Soho and Beyoglu. [dissertation] eprints.nottingham.ac.uk. 30
Available at: http://eprints.nottingham.ac.uk/12720/1/Durmaz_Phd_13_July_2012.pdf. Easson, G. (15/11/2016). Creative Dundee Interview. [interview] Festival of Architecture. (2016). Seabraes yards design competition. [online] foa2016.com. Available at: https://www.foa2016.com/events/2016october15 seabraesyardsdesigncompetition. Fleet Collective. (2013). Fleet Collective:About us. [online] fleetcollective.com. Available at: http://www.fleetcollective.com/aboutfleet/. Flew, T. (2011). The creative industries: Culture and policy. Los Angeles, CA: SAGE Publications. [book] Gillman, C. (30/11/2016) Creative Scotland: The Future of The Creative Industries and Funding Opportunities Creative Futures Week. [talk] Hospitalfield. (2016). Hospitalfield:About. [online] hospitalfield.org.uk. Available at: http://hospitalfield.org.uk/about/. MacDonald, S. (2013). Beyond the creative industries: International Journal of Education Through Art. pp. 293–309. doi: 10.1386/eta.9.3.293_1. [journal] Available at: Duncan of Jordanstone Collage of Art & Design, Mathew library. Mitchell, A. (2015). Creative Placemaking: Designing the cities of our future. Available at: https://parksify.com/creativeplacemakingdesigningthecitiesof ourfuture30b47d91ebd8#.b68a5ldoj. Murdoch, S. (28/11/2016). Dundee City Council Interview. [interview] OpenChange, 2016. Open Change: Why. [online] openchange.co.uk. Available at: http://www.openchange.co.uk/why/ Philippi, T. (2016). Authentic Synergized design in the live work play environment : lifestyle strategy and design: architecture and design. [article] gensleron.com. Available at: http://www.gensleron.com/lifestyle/2016/1/4/authenticsynergizeddesigninthe liveworkplayenvironmen.html. Rapson, R. (2013) Creative placemaking: Rethinking the role of arts and culture in strengthening communities 18 July. [speech] kresge.org Available at: http://kresge.org/library/creativeplacemakingrethinkingroleartsandculture strengtheningcommunities Scottish Enterprise (2008). District 10 will get you thinking outside the box inside of the box. [report] scottisheneterprise.com. Available at: https://www.scottishenterprise.com/se2013/home/knowledge %20hub/articles/insight/building%2001%20at%20seabraes%20yard. Steel, G. (01/12/2016). Nicola Russell Studios Interview. [interview] 31
The Circle Dundee. (2016) The Circle Dundee: About. [online] thecircledundee.org. Available at: https://thecircledundee.org.uk/about/ TSCA, (2016). Scottish Cities Alliance: Dundee City Overview (2016) [online] scottishcities.org. Available at: http://www.scottishcities.org.uk/cities/dundee UNESCO (2016). Introducing UNESCO. [online] en.unesco.org. Available at: http://en.unesco.org/aboutus/introducingunesco. V&A Museum of Design Dundee (2014) V&A museum of design, Dundee: About. Available at: https://www.vandadundee.org/aboutus. White, H. (22/11/16). Open Change Interview. [interview]
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7.0 Apendices Apendix 1
Consent Form for Rachel Wright Thesis Project
Yes
Please tick the appropriate sections Taking Part I have read and understood the project information sheet dated 01/12/2016. I have been given the opportunity to ask questions about the project. I agree to take part in the project. I understand that my taking part is voluntary; I can withdraw from the study at any time and I do not have to give any reasons for why I no longer want to take part.
I understand that my words may be quoted in publications, reports, web pages, and other research outputs (if applicable; e.g. for interviews). I allow consent to be recorded via video and audio files of this interview
Use of the information I provide beyond this project I agree for the data I provide to be archived at the Dundee University Degree Show 2017 I understand that other researchers will have access to this data only if they agree to preserve the confidentiality of the information as requested in this form. I understand that other genuine researchers may use my words in publications, reports, web pages, and other research outputs, only if they agree to preserve the confidentiality of the information as requested in this form.
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Project contact details for further information: Name: Rachel Wright Phone: 07801961317
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Date
Email addresses: rachel.wright03@hotmail.co.uk
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