Cultural planning, an urban renaissance? by Graeme Evans

By Graeme Evans

Cultural making plans is the 1st booklet at the making plans of the humanities and tradition and the interplay among the nation arts coverage, the cultural economic system and city and town planning.

content material: creation --
The historic evolution of urban arts and cultural making plans --
city tradition and the early business urban --
Amenity making plans and the humanities centre --
making plans for the humanities: versions and criteria of provision --
The cultural economic system: from arts amenity to cultural --
ecu universal tradition and making plans for nearby improvement --
towns of tradition and concrete regeneration --
making plans for the humanities: an city renaissance? --
Appendix I: version making plans guidelines for the humanities, tradition and leisure: a borough survey --
Appendix II: Extract: house for the arts.
summary: Cultural making plans is the 1st ebook at the making plans of the humanities and tradition and the interplay among the country arts coverage, the cultural financial system and city and town making plans

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Culture and commerce The public planning of cultural facilities in the pre-industrial era as noted in Chapter 1 rested on the extent of the public realm and relative freedom of society, including of course the time and money to participate in cultural activities. As recent writers on various European ‘urban renaissances’ (Hall, Jardine, Borsay, Graham-Dixon, Johnson) and even the observers of antiquity and ancient cities maintain, the economic opportunities and confidence—not just surplus ‘leisure’ time and spending—but the expectation of economic stability and growth, were fundamental conditions under which cultural production and provision was to develop in cities.

By the fifth century, Constantinople’s population reached over 300,000 and again a cosmopolitan existence was distinguished from the rural, which generated the demand and creation of cultural facilities, since ‘the city and the city alone provided certain amenities that were considered an essential part of civilised life’, and echoing Athens, ‘city life was very public’ (Mango 1998:63). : 77)—giving plenty of scope for ‘bread and circuses’! The tension, moral and political, surfaced as it has done to a greater and lesser extent in societies ever since, fuelling state (Crown and Church) control and censorship of public performance and theatre in particular.

In every age someone, looking at Fedora as it was, imagined a way of making it the ideal city, but while he constructed his miniature model, Fedora was already no longer the same as before…. The building with the globes is now Fedora’s museum. g. Church, Crown or ‘tribe’) or a system of democratic consensus—and the place that the arts have in a particular society or community and therefore in the planning for human settlements. This book is neither a treatise on urban design and morphology through the ages nor a social historical account of ‘culture’ or its specific manifestations and building types, although both are touched upon in assessing the evolving relationships between urban and city planning and cultural amenity and development.

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