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URBANDESIGN THEORY
Jonathan Ballard_4119621Eleanor Connolly_4118571
Cameron Worboys_4105633
/ Group Assignment Option.1
/ K13 UDT
THE LACE MARKET AS
A CREATIVE CLUSTER
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CONTENTS
IntroductionDiversity & Density Mix
Character
Movement, Structure & Legibility
Adaptability
Refection & Conclusions
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Nottingham is clearly a place for innovativebusinesses and individuals to thrive.(The Nottingham Plan, 2012)
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Introduction
“Urban design is the art of making places for people.
It concerns the connections
between people and places,
movement and urban form,
nature and the built fabric,
and the processes for ensuring
successful villages, towns and
cities.”(DETR & CABE, 2000)
This analytical assignment
explores the Lace Market, Nottingham, as a creative
cluster in relation to ‘good
urban design’ as dened in the
DETR and CABE requirements.
The process adopts a six stage
strategy, focusing around
comprehensive research into
creative clusters, eldwork
inquiry, mapping investigations,
conceptual abstractions and visual reections. Studied over
six chapters this essay critically
evaluates the Lace Market as
an established and growing
creative cluster. Concluding
with reection on the strategic
ways to reinforce and develop
its ambition to become a
agship cluster for the UK.
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the lace market as a creative cluster 3
Creativity is at the heart of British
culture, a distinct feature of our
national identity accounting for 7.3% of the UK’s economy.
“Creativity brings about something
that is genuinely new and
worthwhile enough to be added
to culture.” (Franke & Verhagen,
2006). Thus, a creative cluster
can be dened as a mediating
place bringing a diverse group
of industries together. “Creative
industries have a manifold
relationship with locationalagglomerations.”(Jakob, 2007)
They form a cluster of connections
informed by a unique image
and sense of expression. This
in turn sparks local innovative
skill through a “synergetic and
collective learning processes.”
(Jakob, 2007)
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the lace market as a creative cluster 5
Urban Planning for Creative Clusters
Character – “A place with its ownidentity”
The locally distinct character of
the Lace Market is an eclectic mix
of styles that make up its unique
character. The streets are formed
from ne Georgian houses to the
Victorian warehouses of Lace.
This aesthetic has been delicately
retained as the creative zone has
developed.
Quality of the Public Realm – “A place with attractive and
successful outdoor areas”
Lace Market Square provides an
example of uncluttered, attractive
green space within the creative
urban environment. It forms a
community, encouraging public
interaction and networking
between industries and the general
public.
Ease of Movement – “A place
that is easy to get to and move
through” Legibility – “A place that has a clear image and is easy to
understand”
Transitional spaces within the
Lace Market are clearly dened
through transport links and
pedestrian movement, but also
landmarks such as the Nottingham
Contemporary.
Continuity and Enclosure – “A
place where public and private
spaces are clearly distinguished”This recognises that every building
is part of a greater whole. The
creative quarter of the Lace
Market denes transparent
boundaries, from the lines of
bespoke fashion shops to the
private ofce warehouses along the
original building line.
By Design: Urban design in the
planning system: towards better
practice
(DERT, 2000) PPG1 Planning Policy
Guidance 1: General Policy and
Principles
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the lace market as a creative cluster 6
Diversity – “A Place with Varietyand Choice”
Diversity refers to the wide range
of creative industries and uses,
establishing a vibrant exciting
community to live, work and play
=in. Industry is able to interpret
different areas of the Lace Market
individually or collectively,
creating a 24 hour urban
environment.
Adaptability – “A place that can
change easily”
The existence of cheap versatilespaces provided by history erects a
canvas for the creative industry to
adopt. A broad range of functions
are present from technological to
social, economic and educational.
A dominant physical fabric is
embedded unchanged by evolving
patterns of human life.
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the lace market as a creative cluster 7
Examples of Creative Clusters
“The term ‘creative industries’originated in the mid-to-late
1990s and was rst taken
up at a national level by the
UK’s government.” (BOP
Consulting: British Council,
2010). Key studies into these
agglomerations in the UK
include, Making Space for
Dalston and Bankside Urban
Forest.
Making Space for DalSon
(J&l gibbonS, 2009)
This scheme’s incentive was
“seeking to nurture Dalston’s
inherent creativity and
diversity.” (J&L Gibbons,
2009) Through the use of
intense observations and
analysis on a ground level with
the local community. “The brief highlighted the opportunity
for a linked approach to the
public realm and cultural
initiatives to be consolidated as
a deliverable programme and
action plan.” (J&L Gibbons,
2009) It identied Dalston’s
social, cultural and physical
attributes, in a three-part
methodology. 1.) Value what is
there 2.) Nurture the possible
3.) Dene what is missing.bankSiDe Urban park
(WitherforD WatSon Mann
architectS, 2007)
In response to the mayor of
London’s ‘urban renaissance’
the public space strategy
creates a new ‘urban forest.’
This highlighted a ve-point proposal. 1.) Increasing the
opportunities for ‘sharing.’
2.) Urban Forest of this
distinctive area of London.
3.) Evolutionary change takes
place. 4.) Ecological approach
to urban regeneration. “The
Bankside Urban Forest
framework sets out a strategy
for the long term regeneration
of the public realm through
an evolving process, whichneeds to be endorsed and
owned by the local community
and committed stakeholders.”
(Witherford Watson Mann
Architects, 2007). These
projects aided us in our
methodological approach.
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the lace market as a creative cluster 8
Bankside Urban Forest, England(Witherford Watson Mann architects)
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the lace market as a creative cluster 9
The History of the Lace Market
The history of lace has shaped the
character and form of Nottingham
City Centre. “The city has the physical remains of two ancient
settlements which were sited on
the defensive sandstone spur” (J.
C. Moughtin, 2003). To the east of
the city centre lies a former Saxon
settlement, sited on the area now
known as the Lace Market.” The
original routes into the city from
London wound up the hill, centring
themselves around this cluster
with the oldest streets runningeast/west across roads such as
Goose Gate and Middle Pavement.
“Nottingham was home to 10,000
people in 1740 but grew with
the arrival of the lace industry”
increasing to a “population of
60,000 by 1840.” (Nottingham City
Urban Guide, 2009) Consequently,
what started as a small domestic
trade in Nottingham expanded with
the evolution of mass-producingmachinery. During this period
there was an urgent need for larger
warehouses and housing. These
warehouses were abandoned with
the decline of the lace industry,
providing the platform for new
creative industry shaped by this
renaissance.
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Creativity is unique, because it comes from people...
a quintessentially human characteristic.(Franke & Verhagen, 2006)
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diversity & density mix
Working alongside the readingsof Richard Florida this
chapter assesses the extent of
Nottingham’s creative diversity
and density mix. This mix
refers to the accumulation of
contrasting and co-operating
creative industries forming
a high quality specialised
network. “Some creative
businesses ourish particularlywell when they form clusters”
(BERR, 2008). This web of
innovation within a given
location was formerly referred
to as a knowledge spillover.
Our analysis in this section
uses the adopted NESTA
categories to produce maps
displaying urban land use and
functionality. Expanding onthese maps to form diagrams
analysing variables within land
use such as footfall hierachies
and transitional time periods
between the day and night.
Dissection of this information
will provide conclusive
evidence of the areas attractive
diversity and density mix.
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the lace market as a creative cluster 13
Architecture
Arts & Antiques
Designer Fashion
Film & PhotographyDesign & Advertising
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Nesta Creative Sectors
NESTA (The National Endowment for Science, Technology and
the Arts), is regarded as one of the most ambitious organisations
aiming to map the UK’s creative clusters. Research includesshowing where they are located, the formation of sectors and what
their role is in the process innovative development. The benets of
industrial clustering have long been identied giving businesses
access to skilled staff, shared services, and the opportunity to
capture valuable knowledge spillovers. NESTA identied twelve
creative groups, of which eight were adapted to create sectors
applicable to creative clusters within the Lace Market.
Musical & Visual Art
Digital & Publishing
Education
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the lace market as a creative cluster 15
Since the 1990’s Nottingham City Council have been focussing onthe Lace Market as a target zone for regeneration, centred around
a hub of niche activity comprising of “200 micro-businesses.”
(Shorthouse, 2004). Unlike many current sectors of the British
economy, the creative strand lives and thrives off itself rejecting
isolated working conditions. “They don’t want to work on an
industrial estate; they want to be somewhere that has interesting
gigs on a tuesday night, a stand-up club on wednesday, a thriving
arts scene, and all that stuff. We want the Lace Market to be that
place.” (Nottingham Culture, 2012) The cluster lends itself to
these conditions with a diverse collection of cultured settings,
shops, theatres and venues all set within close proximity of each
other.
The adjacent map displays the clusters immediate location within
the centre of Nottingham. This siting provides ease of access to the
cultural centre and venues such Nottingham Contemporary (top
right), while enhancing the cities vibrancy and diversity locally
and as a whole. “The most beautiful city in the world is nothing if
it’s streets don’t throng with life and its building glow with activity.
(Nottingham City Council, 2009).
Creative Industry in Nottingham
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the lace market as a creative cluster 16
Lace Market
Central Nottingham
City Sprawl
Fig 2.1
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the lace market as a creative cluster 17
Occupational Land Use
Advertising & Design
Architecture
Arts & Antiques
Fashion
Photo
Music visual arts
Digital & PublishingCaes
Education
Bars, restaurants
Non creative
Fig 2.2
From the adjacent map we deciphered two predominant territories
(Zone A & B). Subsequent to the close proximity of Market Square
on the North side, footfall is greater in this area (Zone A, Fig 2.3).
The streetscape hierarchy produces higher volumes of pedestrian
circulation with resultant public exposure along main routes. It isthis factor that allows sectors such as designer fashion, music &
visual arts, photography, arts & antique shops to thrive. Zone B
however, is located to the South where accessibility is limited and
legibility is reduced (a concept discussed later). These spaces are
better suited to less exposed daytime ofce and non retail sectors
such as advertising, architecture, education and publishing with a
declined ‘non-purpose’ visitor footfall percentage.
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the lace market as a creative cluster 18
Predominant Land Use & Footfall
As for bars, restaurants and nightclubs, these fall within the middle of the two zones,
possessing attributes that place them in neither category. Their sporadic situation provides
evidence for their independence from conventional daytime circulation routes with smallindependent clusters appearing throughout the map. An overview of the land-use in the
area helps gauge the broad mix of activities that take place and indicates how particular
pedestrian inhabitants might inhabit the public spaces at different time” (M.J.Stern &
S.C.Seifert, 2007). Cafes although sporadic also appear in areas of high creative density,
supporting the ‘networking’ culture. “Often people with various interests and skills from
various art forms, will come together simply to bounce ideas off each other, to learn from
each other and trade favours.” (Shorthose 2004)
Zone A Zone B
Fig 2.3
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the lace market as a creative cluster 19
A Creative Diversity
Flyers demonstrate anassortment of activities. In
recent years the cultural
vibrancy has grown and “it
is clear that the creative
community that inhabits the
Lace Market represents a large
pool of creative talent across
all the arts forms.” (Shorthose,
2004)
Dance 4, Lace Market Theatre,
Cow Vintage and Nottingham
Contemporary, emphasise theheterogeneity that captures
and augments the formation
of knowledge spillovers
“providing a limitless supply
of new ideas for potential
products across a range of
industries.” (Bagwell, 2008)
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Bars & Nightclubs
Restaurants
Pubs
Cafes
Retail Industries
Non Retail Industries
Fig 2.4
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the lace market as a creative cluster 22
There is a “pronounced
shift in the Lace Market area
from being a largely daytimeeconomy to a night-time
economy.” (Shorthose, 2004).
Analysis of this transition
introduces the variable of
time; assessing predominant
industries (Fig 2.4) and their
urban pattern (Fig 2.5). As
previously mentioned, the map
adjacent reveals the sporadic
nature of night sites formingsmall connecting clusters; with
probable economic benets.
Daytime economies appear
to be reliant on streetscape
hierachy with many siting in
areas of high public exposure -
predominantly retail based.
The Day & Night Economy
Night economy
Daytime economy
Hybrid day/night economy
Fig 2.5
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Each one of us is an historical being, heldin a pattern created by Time.(JH Plumb)
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Character [continuity & enclosure]
“Historic culturalenvironments are made up of
more than bricks and mortar,
they are also made up of layer
upon layer of human activity.”
(Ferris, 2000). Ferris suggests
that continuity exists through
the recognition that every
building is part of a greater
whole. This ‘greater whole’
represents not only the built structure but the provision of
green corridors and public
space between the building
fabric (enclosure). A sensitively
designed cultural environment
must respond to the needs
projected by the arrangement
of local economic, social and
cultural life.
The focus of this section istherefore exploring what
forms continuity of building
heritage, character in
townscape & landscape and
cultural association, through
the use of creative mapping,
photographic invesitgations
and eld studies.
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The past two decades have seen important shifts in cultural
sensitivity when approaching urban planning. Historic
environments have now become common ground for an
associative connection to popular culture and history. Successful planning requires developers to “claim the entire urban cultural
landscape as an important part of history not just its architectural
monuments” (Ferris, 2000). This approach is illustrated in Fig 3.1
through the dominance of old and renovated buildings projecting
outwards from the once industrial core of the Lace Market.
Alongside this Fig. 3.1 also highlights the inux of new builds on
the fringe of the existing infrastructure.
Building Heritage Composition
Old
Rennovation
New
Fig 3.1
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the lace market as a creative cluster 27
Conceptual Character Photomontage
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the lace market as a creative cluster 29
Surveys were sent to a diverse selection of businesses in order to
distinguish the importance of locational attributes in the cluster.
Out of the thirty six replies, over 80% agreed or strongly agreed
that working in the Lace Market is crucial for their business,
with 40% agreeing or strongly agreeing that the heritage and
character plays an important part. Similarly, many agreed that
the Lace Market is friendly social and desirable, with a small
number disagreeing - potentially those who have fallen victim
to the negative impacts of the night economy on their daytime
businesses. Over 60% agreed or strongly agreed that their
cluster location was benecial for networking, with the other
40% potentially reaping the benets of internet communications
- providing a new means of creative networking virtually rather
than physically.
Interviews with Industry
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the lace market as a creative cluster 30
Bars & Nightclubs
Restaurants
Bars & Nightclubs
Restaurants
Pubs
Caes
Retail Industries
Non Retail Industries
1-5
5-10
10-15
15-20
20-25
25+
Strongly Agree
Agree
Neutral
Disagree
Strongly Disagree
Strongly Agree
Agree
Neutral
Disagree
Strongly Disagree
Strongly Agree
Agree
Neutral
Disagree
Strongly Disagree
Strongly Agree
Agree
Neutral
Disagree
Strongly Disagree
Which ‘Creative Industry’ would you classiy yourbusiness as?
Please could you state how many people work oryour company.
The Lace Market location is crucial or your
business?
The attractiveness o the Heritage & Character o the Lace Market is important or your business.
The Lace Market is riendly, social & a desirableplace to work.
The Lace Market location is important or meeting andnetworking with suppliers, collaborators & competitors
Fig 3.2
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the lace market as a creative cluster 31
“The creative city is an open
city.” (Franke & Verhagen,
2006) These places mediatebetween urban and green
landscapes with extensive tree
planting, quiet gardens and
public space. This sustainable
approach in turn “develops
‘signature places’.” (Jakob,
2007) creating a relaxed and
comfortable environment for
people to visit, work and live.
Urban development should
embrace opportunities for tree
planting within the city withnew and improved streets and
public spaces.“Nottingham is
a green city particularly in the
ring just outside the original
Medieval city.” (Nottingham
City Council, 2009) - where the
Lace Market resides.
Open & Green Space Siting
Fig 3.3
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the lace market as a creative cluster 33
Conceptual Culture Collage
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the lace market as a creative cluster 34
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A lively, bustling place that draws peoplefrom throughout the region to shop,work, socialise & learn.(Nottingham City Council)
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Movement structure & Legibility
“The development of creative
clusters will help to bring the
creative industries in from
the margins to the heart of
the economy.” (BERR, 2008)
This section correlates ease
of movement with legibility
in order to assess the
consequential benets. The
concept that “streets are more
than just trafc channels for
vehicles, and should offer a
safe and attractive environment
for all.” (DERT, 2000) is an
essential attribute for good
urban design. Furthermore,
these routes should be visible
and contribute to making a
unique sense of place. Through
extensive mapping at macro
and micro scales we analyse
the success of the Lace Market
cluster. Within the cluster
individual divisions are studied
deciphering this complex spatial
relationship. “This emphasizes
the importance of location and
inter-rm linkages...particularly
important in the context of
cities.” (Bagwell, 2008).
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the lace market as a creative cluster 37
Circulation & Accessibility
Nottingham has long beencommended for its efcient
public transport system. The
network provides access to
the city centre from suburban
locations via trains, busses and
trams (g 4.1) with the tram
being noted as “a great success
since the rst line opened
in 2004.” (The Nottingham
Plan, 2012). Internally this
integrated transport system
links via bus stations to thesouth, bus stops to the north
west and vehicle access via
converging out of town roads
(g 4.1). Zoned pedestrianised
areas provide a variety of street
styles while creating a safe
and social environment to link
the Lace Market and Market Square (g. 4.4). These routes
reect good urban design
qualities, not merely spatial
transitions. It is these qualities
that not only attract people
to visit the Lace Market but
an environment for living and
working. “The city’s...central
location, excellent transport
links, universities and excellent
quality of life -have encouraged
many talented people to Nottingham.” (The Nottingham
Plan, 2012).
Nottingham City Centre
Lace Market
Bus/Train Station
Bus Stop
Routes into Nottingham
Fig 4.1
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the lace market as a creative cluster 38
T o
T r
a i
n
S t a
t i o n
To Mark e t S q.
Tram Line
Tram Stop
Pavements & Pedestrian Routes
Pedestrianised Zones
Car Routes
Car Park
Fig 4.2 Fig 4.3 Fig 4.4
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the lace market as a creative cluster 39
Legibility is the concept of human understanding and natural
waynding with the brain assessing “where people are, things of
interest, noise levels, presence of vehicles, what can be seen ahead
and so forth.” (Witherford Watson Mann Architects 2007). In the
survey eighty people agreed that the Lace Market was accessible.
Despite this result (taken in Zone A, Fig2.3) some areas of the Lace Market (particularly Zone B) may be difcult for some to
navigate. However it could be argued that“some places draw their
charm from their lack of clear routes.” (DERT, 2000). Transport
results highlighted the success of the bus network while cycle
routes could be improved in the area to offset some car visitors.
Travel Connection Interviews
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0
5
10
15
20
25
30
35
0
10
20
30
40
50
60
70
80
How did you travel here today?
Fig 4.5 Fig 4.6
Do you fnd the Lace Market area easily accessiblerom the Market Square city centre?
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the lace market as a creative cluster 41
Cluster Structure & Connection
“Location matters. Interaction
can either support or constrain
the development of the
creative industries.” (BERR,
2008) This relationship
between positioning and
intercommunication is crucial
to the development of the
Lace Market as a creative
agglomeration. “The arts are
no longer just about going to
the symphony or a Broadway
musical. They are more active
and more accessible, ” (M. J.Stern and S. C. Seifert, 2007).
Clustering not only creates
increased accessibility but
leads “to advantages for both
rms and the regions, including
increased competitiveness,
new rm formation, growth,
protability, job growth and
innovation.” (Bagwell, 2008).
Fig 4.7 highlights the divisions
of each identied cluster,
illustrating each industries
interpersonal relationships.
Patterns shown by sectors
such as designer fashion and
art & antiques coherently
illutrates the benets of a tight
knit network centred around
a high foot fall street axis.
The benets clustering are further backed up by evidence
shown in Fig.3.2 (Surveys with
industry). In contrast industries
like architecture show sporadic
placement inuenced by their
withdrawn public exposure.
A d v e r t i s i n g & D e s i g n
A r c h i t e c t u r e
A r t s & A n t i q u e s
D e s i g n e r F a s h i o n
P h o t o g r a p h y & F i l m
M u s i c V i s u a l & A r t s
B a r s & R e s t a u r a n t s
E d u c a t i o n
Fig 4.7
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the lace market as a creative cluster 42
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the lace market as a creative cluster 10
Nottingham already has in place theelements required for this manufacturingrenaissance.(The Nottingham Plan)
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Adaptability
Once a world leader in the lace
industry, the Lace Market’s
large warehouses and factories
stood “as a showcase of
industrial pride” (Ferris,
2000). With the decline of
industry came the necessity
for adaptation to re-imagine
these once highly legible forms.
Fortunately by the late 1960’s
these victorian spaces were
“seen as having historical
architectural signicance”.
(Ferris, 2000). In the 1970’s
the Lace Market was declared
to be an industrial improvement
area with a new strategy aimed
at internally reconstructing the
large spaces, preserving the
external facades. The relatively
low cost of these buildings
made it ideal for artistic
residents; allowing them to
interpret the space in their own
manner. This section explores
in detail adaptability, from the
functional changes in industry
to the introduction of education
as a driving tool for longevity
of the creative cluster.
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the lace market as a creative cluster 48
1968 ~
RENOVATION
1960 - 2013
INTERNET
1960 - 2013
COMPUTERS
1990 - 2013
SOFTWARE
1990 - 2013
HOUSING
1960 - 2013
ART CULTURE
1960 - 2013
ARTIST STUDIO
1960 - 2013
DECLINE
1800 ~
1960 - 2013
INDUSTRY
1960 - 2013
ABANDONMENT
Technological Adaptability
“Old industrial sites provide
the infrastructure that is
required for new cultural
ideas, new technological
ideas, new economic ideas
and the interplay of those.”
(Franke & Verhagen, 2006). It
is this technological concept
of adaptability within the
Lace Market, which strongly
contributes to new innovative
industries. “Cultural resources
are raw materials of the
city.” (Franke & Verhagen,
2006) This holistic concept
represents a strength in
every weakness. “Creativity
is not just something new,
but also dealing with what
already exists in a different
way.”(Franke & Verhagen,
2006) The survival of this long-
established industrial district
is reected in “production
techniques and technology, as
well as markets and cultural
development in both design and
consumption/ fashion.” (G. L.
Evans, 2009)
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the lace market as a creative cluster 49
This quarter-mile square protected heritage area of
Nottingham has undergone a
transformation over the past
two decades. “The physical
core of the Lace Market was
and is represented by a number
of large & distinctive industrial
buildings that had been
developed in the nineteenth
century for the purposes of
producing and distributing lace
for national and international
markets.” (Ferris, 2000)
After the lace decline in the
early twentieth century these
traditional world-renowned
industries disappeared leaving
their infrastructure behind.
The 1970’s marked their
revival, with a “new planningstrategy aimed at internally
reconstructing the buildings
whilst preserving the external
facades.” (Ferris, 2000)
However, still for years the Lace
Market remained “one of those
‘lost spaces’ (Tranick 1986)
crying out for re-development.”
(Shorthose, 2004). In the past
twenty years there have been
bustling partnerships constantly
investigating the Lace Markets
prospects. Today, there is an
intertwining of tradition and
modernity with the “important
Victorian architectural heritage
buildings... preserved and
nding a new lease of life.”
(Ferris, 2000) Unlike previous
years when autonomous artistsoccupied these cheaply rented
warehouse. The Lace Market
has morphed into an up and
coming exclusive area to
live, work and play. “The old
warehouse which were once
independent studio spaces
are currently being turned
into expensive ‘loft living’
residences.” (Shorthose, 2004)
This reects the economic
adaptability and transition
within the area. The industrial
shell allows a dynamic multi
layering of functionality over 5
storeys enhancing “the feeling
of a creative community and
shared sense of ownership
of the area.” (Shorthose,
2004) However, to continue prospering, the Lace Market
needs to retain this diversity
and adaptation. “One of the
reasons why the Lace Market
has been successfully protected
is because the various agencies
were pragmatic and responsive
to change.” (Ferris, 2000)
Thus, the future lies in the
capacity of these spaces and
the level of further adaptation
they can sustain following
intial development. “from
pre-industrial artist and
crafts-based communities,
to contemporary cultural
industries quarters in “post-
industrial” cities.” (G. L.
Evans, 2009)
The Creative Cluster of Industry
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Crea-
t iv e. A rt . F as hi on .
Design. Architecture.Innovation.
Photo.Video. Advertising. Performance.Dance.Painting.Studio.Meeting.Sharing.Idea.
Images.Composition. Material.Inspiration. Film.Writing.
Mus ic . Wat ch . Learn . Progr ess. Col ou r. L ight . D ar k. T al k.
Communicate. Transfer. Thoughts.Develop. Eat.Drink. Enterprise.Business.
Shop.Work. Live.Play. Fulll. Compose.Think. Layout. Culture.Creative. Art. Fashion.Design. Architecture.Innovation. Photo.Video. Advertising. Performance. Dance. Painting.Studio.
Meeting.Sharing. Idea.Images. Composition.Material. Inspiration.Film. Writing.Music. Watch.Learn.
Progress.Colour.Light. Dark.Talk.Communicate.Transfer.Thoughts.Develop.Eat. Drink.Enterprise.
Business. Shop.Work.Live.Play. Fulll.Compose.Think.Layout.Culture. Creative.Art. Fashion. Design.
Architecture.Innovation. Photo.Video.Advertising. Performance. Dance. Painting.Studio.Meeting.Sharing.Idea.Images. Composition.Material. Inspiration.Film. Writing.Music. Watch.Learn. Progress.Colour.Light.
Dark.Talk.Communicate.Transfer.Thoughts.Develop.Eat. Drink.Enterprise.Business.Shop.Work.
Live.Play.Fulll.Compose.Think.Layout.Culture.Creative.Art.Fashion.Design.Architecture.
Innovation.Photo. Video.Advertising. Performance.Dance. Painting.Studio. Meeting.
Sharing. Idea.Images. Composition. Material.Inspiration. Film.Writing.Music. Watch. Learn. Progress. Colour. Light . Dark. Talk.
Communicate. Transfer. Thoughts. Develop. Eat.
Drink.Enterprise.Business.Shop.Work.
Live . Play. Full l. Compose. Think. Layout. Culture.
N o t t i n g
h a m U n
i v e r s i
t y C a m p u
s
the lace market as a creative cluster 51
Fig 5.1
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the lace market as a creative cluster 52
“Nottingham has one of the youngest populations of any city in
the UK. Two out of ve residents are under 24.” (The NottinghamPlan, 2012). This, coupled with the large number of educational
institutions and two universities, provides a promising future for
the creative industries with an emerging forthcoming workforce.
However, despite the range of creative courses available to
students across the UK, “it is important to ensure that the local
industries engage more actively with the universities to harness
research outputs that might enhance their productivity and
innovative performance.” (G.L. Evans 2009). This improved
connection will develop the transition from education to work. Not
only this but introductions to the creative industry are planned
with “industries providing up to 5000 formal apprenticeships a year.” (BERR, 2008) in the creative sector by 2013.
Social Education for Future Adaptability
Non Educational Establishments
Lace Market
Education Establishments
Fig 5.2
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Creativity brings about something that isgenuinely new and worthwhile enough tobe added to culture…(Franke & Verhagen, 2006)
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REFLECTION & CONCLUSIONS
The conglomeration of
research, theories and analytical interpretation
has assured us of the Lace
Market’s ‘creative cluster’
identity. Exploration aided
by NESTA categories has
allowed us to ascertain the
cluster’s ‘good urban design
attributes’ certifying the centre
as indeed, a commendable
example of urban design.Upon initial exploration, the
area expressed a colourful
and vibrant diversity of
functional uses, planned to
suit the creative population.
Variables enhance this mix
with alterations in usage,
time, function and connectivity
inuencing the sectors place
within this ‘frozen’ historicbuilt environment. The adapted
centre has endorsed new
functional use supported by
a successful city network of
route hierarchies and transport
links within the local area, this
planned approach contrasts to
the prior natural formation.
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“To prosper Nottingham needs
to diversify. It needs to readjust the balance of its economy and
reconnect with its historical roots
as a centre for manufacturing
excellence and enterprise.” (The
Nottingham Plan) This citywide
insight highlights the importance
of the Lace Market as a centre
for providing this diversity and
historical rooting by “urban
regeneration through cultural
development (Rogers 1997,
2001) The cultural centre forms a
large proportion of Nottingham’seconomic future with the area
lending itself to use by creative
industries, being supported by
education, knowledge, historic
and transport layers. This
previous “organic growth of the
Lace Market as a cultural quarter
came about through a process
that was informal, unstructured and D-l-Y.” (Shorthose, 2004)
This method of creative growth
must now be approached by
governmental interference.
“Now is the time to recognise
the growing success story that is
Britain’s creative economy and
build on it.” (BERR, 2008)
“In the coming years, the creative
industries will be important not
only for our national prosperity
but for Britain’s ability to put
culture and creativity at the centreof our national life.” (BERR,
2008) It is this reliance that will
encourage the area to grow and
prosper, while raising issues
based on the depth and capacity
of its growth potential. Having
saturated the Lace Market built
environment with growth rates
“twice as fast as the rest of theeconomy.” (BERR, 2008) The
question is posed, what next?
Through our research and
analysis we came to the
conclusion that for the Lace
Market as a creative cluster
to continue growth it needs
“industry that generate long-
term wealth, that not only
bind new people to the city but
encourage kids to get into those
industries.” (Nottingham Culture,
2012). Consequently, youth willencourage the cluster to further
evolve over time. It is apparent
that the future of the Lace Markets
creative existence lies within
education and enterprise. The
Nottingham Plan highlights a
“growth by focusing on three
key areas.” 1.) Fostering
enterprise, 2.) Developing askilled workforce, 3.) Building a
21st century infrastructure. (The
Nottingham Plan, 2012) One such
project is ‘Made in Nottingham’,
a campaign “encouraging
Nottingham-based companies
to use the ‘Made in Nottingham’
brand when selling their products
domestically and internationally.”
(The Nottingham Plan, 2012)
Reecting the heritage of
manufacture, and need for
continuity and diversify. The youthof Nottingham need to become
involved in such projects because
“they are powerful ambassadors
for the city and great role
models for the next generation of
entrepreneurs.” (The Nottingham
Plan, 2012)
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Bagwell, S. (2008), Creative Industries Journal Volume 1 Number 1: Creative Clusters and City Growth, London Metropolitan University, Ladbroke House, London.
BERR (2008), Department for Business Enterprise and Regulatory Reform: Creative Britain New Talents for the New Economy. (http://www.ipo.gov.uk)
BOP Consulting: British Council (2010), Creative and Cultural Economy Series 2 Mapping the Creative Industries: A Toolkit, The British Council, London. (http://www.bop.co.uk)
DERT (2000), By Design: Urban Design in the Planning System: Towards Better Practice, Department of the Environment, Transport and the Regions, Bressenden Place, London. (http://www.detr.gov.uk)
Evans, G. L. (2009), From Cultural Quarters to Creative Clusters – Creative Spaces in the New City Economy.
Ferris, J. (2000), Conservation and Regeneration in the Nottingham Lace Market, Institute of Modern Cultural Studies. University of Nottingham, UK. (http://www.arcchip.cz/w02/w02_ferris.pdf)
Franke, S. & Verhagen, E. (2006), Creativity and the City: How Creative Economy changes the City, NAi Publishers, Rotterdam.
Jakob, D. (2007), Confronting Strategies in Urban Reinvention: The Urban Reinventors :: #1 Issue - June 07., Intra-metropolitan Creative Industries Clusters: A Different Way of Looking at Agglomeration Dynamics
in New York City, Center for Metropolitan Studies, Ernst-Reuter-Platz, Berlin, Germany.
J&L Gibbons LLP. (2009), Making Space for Dalson, muf architecture/art, Borough of Hackney, London.
Moughtin, J. C. (2003), Urban Design: Method and Techniques, Architectural Press, London.
NESTA (2010), The National Endowment for Science, Technology and the Arts: Creative Clusters and Innovation: Putting Creativity on the Map, Published: November 2010. (http://www.nesta.org.uk)
Nottingham City Centre Urban Design Guide (2009), Produced for Nottingham City Council and Nottingham, Regeneration Ltd. URBED., Manchester.(http://www.nottinghamcity.gov.uk)
PPG1 Planning Policy Guidance 1: General Policy and Principles (2001)
Shorthose, J. (2004), Nottingham’s de facto Cultural Quarter: The Lace Market, Independents and a Convivial Ecology, First published in Cities of Quarters: Urban Villages in the Contemporary City. M. Jayne and
D. Bell, Ashgate Publications, London.
Stern, M. J. & Seifert S. C. (2007), Natural Cultural Districts, Creativity & Change: A collaboration of the Social Impact of the Arts Project,The Reinvestment Fund, Philadelphia PA, USA. (ww.sp2.upenn.edu/SIAP)
The Creative Quarter: Nottingham Culture, Article: 16th December 2012. (http://www.leftlion.co.uk/articles.cfm/title/the-creative-quarter/id/5383)
The Nottingham Plan 2012, Made in Nottingham: edited and designed by Bulletin PR. (http://www.nottinghamgrowthplan.com)
The Work Foundation (2007), Staying Ahead: The Economic Performance of the UK’s Creative Industries,
CHAPTER 4: Dening the creative industries, Work Foundation, Department for Culture, Media and Sport, UK.
Witherford Watson Mann Architects (2007), Bankside Urban Forest, London.
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/ Group Assignment Opt.1
/ K13 UDT
J on a t h a n B a l l a r
d _4 1 1 9 6 2 1
E l e a n or C onn ol l y _4 1 1 8 5 7 1
C a m er onW or b o y s _4 1 0 5 6 3 3
THE LACE MARKET ASA CREATIVE CLUSTER