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Cultural Spaces, Production and
Consumption
Graeme Evans
Designed cover image: © Graeme Evans
and by Routledge
605 Third Avenue, New York, NY 10158
DOI: 10.4324/9781003216537
List of Figures
List of Tables
Acknowledgements
1 Introduction
4 Cultural Heritage
7 Fashion Spaces
References
Index
Figures
Much of the material and many of the ideas in this book have arisen
from working in collaboration with colleagues on numerous research
projects, notably at the Cities Institute; at Maastricht University; and
at University of the Arts London. Valuable insights have also been
gained through international workshops organised as part of the
Regional Studies Mega-Events Research Network and AHRC SmART
Cities and Waste Network, as well as conference sessions convened
at the AAG, ISA and other international meetings.
This work could not have been realised without partners, too
many to single out, but they include arts centres, museums, the
London Festival of Architecture, cultural agencies, including the
Department for Culture Media and Sport, Arts Council England,
Council of Europe, OECD, UNESCO, British Council, and funding
bodies, notably the Arts and Humanities Research Council (AHRC),
Historic England, and regional governments in London, Toronto,
Quebec, Limburg and in the Midlands UK.
Special mention is due to my Research Fellow Dr Ozlem Tasci-
Edizel, and the artists Lorraine Leeson, Simon Read, Rebecca Feiner,
Arts Researcher Phyllida Shaw, the Hackney Wick Cultural Interest
Group, City Fringe Partnership, Three Mills Heritage Trust, Digital
Shoreditch and Crouch End Preservation Trust.
1
Introduction
DOI: 10.4324/9781003216537-1
Cultural Rights
Applying this social production concept – blending and juxtaposing
ideas of rights to the city (Lefebvre 1996) with notions of cultural
amenity and access, and the planning of cultural space – is therefore
the driving foundation of this new book. Whilst culture maybe almost
benign or secondary in comparison with wider social and economic
concerns, it is also the case that cultural rights (CEC 1992; Fisher
1993) and the European Urban Charter (Council of Europe 1992)1
have emerged as important elements in human rights and in
sustainable development principles, with culture now considered to
be the fourth pillar in sustainability (UCLG 2004; UNESCO 2009;
Hawkes 2001) – alongside the social, economic and environmental
(Evans 2013). Cultural practices and traditions are also often one of
the first victims of totalitarian regimes, war and conflict, as well as
vulnerable to the effects of globalisation, commodification and the
privatisation of space, whilst hegemonic power also limits greater
diversity and resources available to so-called minority and
community cultures. This is evident, for instance, in the uneven
geographic and financial distribution of resources for cultural
facilities and programmes (Evans 2016) and in the response of
artists and cultural groups in activism and resistance in the pursuit of
cultural and social justice (Lacy 1995).
Social change and demographic shifts have also increased demand
for public culture and spaces. Smaller family size, single occupancy
living and a growing elderly population have all contributed to this
shift, manifested through the demand for more easily accessible
social opportunities outside of the home. The workplace has also
changed:
Cultural Spaces
But what/why Cultural Space? As I have argued earlier (Evans
2001), spaces for culture have been an enduring feature of cities
and social life generally through the ages, and provided a key
distinction that particular cities – and societies – have demonstrated
and imposed (Hall 1998). Many of these spaces, facilities and
traditions – tangible and intangible – provide important legacies for
cultural activity today both physically and symbolically. However, as
Scott observed, ‘a distinction was frequently made between cities of
industry and commerce, on the one hand, and cities of art and
culture, on the other’ (2014, 569). This is reinforced today through
selective creative city and cities of culture and heritage designation
and competitions, despite their well-meaning intentions. Cultural
spaces are therefore neither universal nor homogenous,
notwithstanding the globalisation of cultural organisation and forms
– both institutional and popular, and where seemingly homogenised
cultural space has been conceived, and its users/inhabitants still
negotiate and experience these spaces differently (Lefebvre 1991).
So that whilst policy convergence and transference are evident in
this field (Peck 2005), and localised models of policy formulation and
intervention appear similar – including built forms and themes
(culture and regeneration, city branding, creative city) – local
conditions and variations such as the historical, social and cultural
identities, as well as governance and geographies/scales, should be
equally considered in order to avoid falling into a reductive trap of
universality at the cost of understanding the importance of the
particular (Evans 2009c, 1006)
It has also been the so-called cultural turn associated with post-
modernity that has emphasised the role and visibility of art and
culture in both social change and in a conceptual shift towards
meaning, cognition and symbols, not limited to high art. So as Scott
goes on to argue:
Today, this distinction is disappearing in favour of a more
syncretic view of cities that is in some degree captured under
the rubric of the postfordist city, one of whose declinations is
the creative city, i.e. a city where production, work, leisure, the
arts and the physical milieu exist in varying degrees of mutual
harmony.
(ibid.)