Abstract
This paper develops the concept of ‘cultural brownfields’ and discusses how organic cultural projects developed in derelict sites have been progressively included in mainstream cultural and urban planning strategies and policies over the last 10 years. To do so the paper assesses the transformation of three mature cultural brownfields in Berlin, Marseille and Lausanne and their distinctive internal and external dynamics. It develops a typology of cultural brownfields which stresses the diverse nature of these spaces and their differential role in cultural and urban planning policies. The paper concludes by highlighting a series of policy lessons for urban planning and cultural strategies.
Notes
1. See for example in America (particularly New York) (Zukin Citation1982, Citation1995, Ley Citation1996), Germany (Kunzmann Citation2004, Ebert and Kunzmann, Citation2007, Manske Citation2007), France (Raffin 2000, Citation2007, Gravari-Barbas Citation2004, Lextrait and Kahn Citation2005, Shaw Citation2005, Vivant Citation2006, Citation2009), Great Britain (Attfield Citation1997, Green Citation1999, Ambrosino Citation2007, Ambrosino and Andres Citation2007, Pratt Citation2009), Switzerland (Raffin Citation2002, Weckerle et al. Citation2008) or Holland (Bruin and Maso Citation1982, Draaisma Citation2003, Shaw Citation2005).
2. Interview Andres, July 2006.
3. Interview Grésillon, June 2008.
4. Interview Grésillon, May 2004.
6. Interview Andres, April 2006.
7. Interview Andres, April 2007.
8. Interview Andres, February 2007.
9. Interview Andres, January 2007.
10. Interview Andres, February 2006.
11. Interview Andres, June 2006.
12. Interview Andres; December 2010.
13. Interview Andres, April 2006 with P. Foulquié and in July 2006 with the initiator of the Subsistances, D, Trouxe.
14. This actually poses a new question which is not developed in the paper due to word constraints: what are the new sites and spaces available for artists to settle in a informal and organic way?
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