The Use of Clusters
Aim: To what extent, in what ways and for what reasons do artists, creative entrepreneurs and business use or not use creative clusters?
See also:
- Research Methodology
- Cluster Typology
- Visual Database
- Cluster Evaluation
- Soft Infrastructure
Case Study ‘Tian Zi Fang’ (Shanghai)
This is a bottom up, no single owner initiative. A questionnaire will be developed form the evaluation scheme.
Case Study M50 & Weihai 696
They are both state owned company property but artist-led initiatives. M50 has already received some academic attention. This case will build on this by comparing it to an emergent ‘organic’ space. This will look at different kinds of ‘art entrepreneurs’. It will also explore the idea of ‘voice’ in more detail.
see also: Voice
Case study ‘Shanghai Textile Group’
This is a large state owned company with many clusters in Shanghai. We are developing a typology of different clusters within the STG collection and will choose indepth study within these. Fashion seems to be an emerging focus for the group.
See also: Cluster Management
Case study ‘fashion’
Both fashion and music are characterised by highly dispersed and fluid industry structure. There are fashion cluster in Shanghai; how do they work? Building on case study of STG: how are these related to other parts of the fashion businesses?
Case study ‘music cluster’
Identify any music clusters (such as the DJ school in Shanghai supported by a western accountancy firm). Why are there no official music clusters? Do these relate to any urban infrastructures, institutions or districts?
Case study ‘non-users’
It is clear that there are many creatives who might be seen as potential users of clusters who are not using them – some passively and some actively. First, why do they not use them – entry barriers or subjective refusal; second, how do they organize and operate. what would clusters have to be like to attract these non-users
