Culture as an Engine of Local Development
Processes: System-Wide Cultural Districts
I: Theory
PIER LUIGI SACCO, GUIDO FERILLI, GIORGIO TAVANO BLESSI, AND
MASSIMILIANO NUCCIO
Valencia: A Participative City of Culture or a New Urban Stage for Mega-Events?
The city of Valencia has recently undergone one of the most ambitious and farreaching urban renewal processes at the European—if not at the global—scale, which has transformed it into a thriving global cultural hub, with a remarkable growth of tourists and pronounced economic development rivalling with the nearby Barcelona. The two major projects at the urban scale that gave underpinned this process have been the Plan de Rehabilitacioacute;n Integral de Valencia (Plan RIVA) and the City of Art and Science inside the new urban park. Plan Riva focused on the renewal of the historical city centre, one of the most important European historical old towns, which constituted 3.67 percent of the urban area. The historical centre is characterised by a complex fabric of spontaneous and planned elements mixing quite diverse cultural influences caused by different historical eras, like the Arabic walls of the eleventh century or the Christian walls of the fourteenth century.
In 1957, a disastrous flood caused by the Turia River in the urban core created structural damage to the cityrsquo;s infrastructure, with huge impacts on the social and economic fabric of the old town. Until the 1960s, the city centre hosted a lively and richly diverse mix of small crafts and retail activities, but after the Turia flooding the population decreased from 56,391 inhabitants in 1970 to 24,027 in 1996. The historical city suffered massive abandonment and social conflicts among local residents. In 1992, a joint project of the regional administration, the Generalitat Valenciana, and of the Municipality of Valencia launched a special agency—Oficina de Rehabilitacioacute;n Urbana—with the aim of defining a new strategy for the renewal of the city centre: Plan RIVA (Jimeacute;nez Alcantilde;iz 2000).
The starting point of Valenciarsquo;s developmental narrative is a typical urban regeneration plan. It focused not only on the physical infrastructures but also on the social and economic conditions that caused the city corersquo;s collapse, thereby broadening its development strategy to include social issues. The planrsquo;s objectives included
bull; maintaining the resident population and attracting new residents to create a socially and culturally diverse environment.
bull; enhancing the arearsquo;s infrastructural endowment with the creation of social, cultural, and educational facilities and revitalising the local retail economy.
bull; fostering direct involvement of residents in the renewal process using a participatory approach centred on close consultation with local stakeholders.
bull; promoting public-private partnerships for the sustainability of urban renewal actions and infrastructural investments.
The project focused attention on three districts (barrios) of the historical centre: Velleuters, Carmen, and Mercat. These areas presented substantial social problems partly due to low-income, poorly educated immigrants. The average yearly income of local families in 1992 was euro;6,000 per year, an impressively low value by Western European standards. The plan was funded by the Generalitat and City Hall administrations, also benefiting from European URBAN 1 and FEDER funds.
The results of the project over the 1992–2003 period were quite good in terms of the rehabilitation of the physical infrastructure, citizen involvement, and revitalisation of the local economy (Burriel de Orueta 2000), and led to the plan qualifying for the United Nations worldwide contest for urban renewal projects (Garciacute;a Navarro 2003). In particular, the plan reversed the long-term trend of abandonment of the city core, bringing about a net positive inflow of new residents.
A second major project directly emerging in reaction to the Turia River flood of 1957 was Valenciarsquo;s decision to modify the river bed route, creating a new way for the river to flow to the sea. The City of Art and Science is an outcome of an urban transformation project whose roots can be traced back to the 1970s. In 1986, 120 ha of the old, now-dry, 10-km-long riverbed was redesigned by the Catalan architect Ricardo Bofill to become an innovative linear park, the Jardines del Turia, a green belt servicing the whole city that hints at Moorish gardens, thus referencing the cityrsquo;s history. The green belt is devoted to sports, open-air activities, and cultural
facilities. In 1988, the Generalitat and the Valencia City Hall launched the General Urban Organization Plan (GUOP) to redesign the layout of the city, and announced an international competition for the construction of the new city communication tower to be located along the new green belt. The competition was won in 1991 by the Valencia-born but internationally renowned engineer-architect Santiago Calatrava, who was also appointed for the design of a new, ambitious culture and leisure facilities complex situated just aside of the final segment of the Jardines del Turia, an area that had been decaying for decades because of the presence of highly polluting industrial activities. An impressive number of cultural facilities—Lrsquo;Emisfegrave;ric (a planetarium with an IMAX cinema, a Laserium, and a university conference hall devoted to astrophysical courses); the Principe Felipe Science Museum (a 40,000 m2 interactive facility); the Umbracle (an impressive sculpture garden); the Oceanografic (an ocean park with a large underground development); the Palau de les Arts (a multi-auditorium complex of 43.000 m2 hosting concerts and educational activities)—were opened one after the other every few years starting in 1998 for a total investment estimated to stay close to 3 billion euros. In addi
Culture as an Engine of Local Development
Processes: System-Wide Cultural Districts
I: Theory
PIER LUIGI SACCO, GUIDO FERILLI, GIORGIO TAVANO BLESSI, AND
MASSIMILIANO NUCCIO
Valencia: A Participative City of Culture or a New Urban Stage for Mega-Events?
The city of Valencia has recently undergone one of the most ambitious and farreaching urban renewal processes at the European—if not at the global—scale, which has transformed it into a thriving global cultural hub, with a remarkable growth of tourists and pronounced economic development rivalling with the nearby Barcelona. The two major projects at the urban scale that gave underpinned this process have been the Plan de Rehabilitacioacute;n Integral de Valencia (Plan RIVA) and the City of Art and Science inside the new urban park. Plan Riva focused on the renewal of the historical city centre, one of the most important European historical old towns, which constituted 3.67 percent of the urban area. The historical centre is characterised by a complex fabric of spontaneous and planned elements mixing quite diverse cultural influences caused by different historical eras, like the Arabic walls of the eleventh century or the Christian walls of the fourteenth century.
In 1957, a disastrous flood caused by the Turia River in the urban core created structural damage to the cityrsquo;s infrastructure, with huge impacts on the social and economic fabric of the old town. Until the 1960s, the city centre hosted a lively and richly diverse mix of small crafts and retail activities, but after the Turia flooding the population decreased from 56,391 inhabitants in 1970 to 24,027 in 1996. The historical city suffered massive abandonment and social conflicts among local residents. In 1992, a joint project of the regional administration, the Generalitat Valenciana, and of the Municipality of Valencia launched a special agency—Oficina de Rehabilitacioacute;n Urbana—with the aim of defining a new strategy for the renewal of the city centre: Plan RIVA (Jimeacute;nez Alcantilde;iz 2000).
The starting point of Valenciarsquo;s developmental narrative is a typical urban regeneration plan. It focused not only on the physical infrastructures but also on the social and economic conditions that caused the city corersquo;s collapse, thereby broadening its development strategy to include social issues. The planrsquo;s objectives included
bull; maintaining the resident population and attracting new residents to create a socially and culturally diverse environment.
bull; enhancing the arearsquo;s infrastructural endowment with the creation of social, cultural, and educational facilities and revitalising the local retail economy.
bull; fostering direct involvement of residents in the renewal process using a participatory approach centred on close consultation with local stakeholders.
bull; promoting public-private partnerships for the sustainability of urban renewal actions and infrastructural investments.
The project focused attention on three districts (barrios) of the historical centre: Velleuters, Carmen, and Mercat. These areas presented substantial social problems partly due to low-income, poorly educated immigrants. The average yearly income of local families in 1992 was euro;6,000 per year, an impressively low value by Western European standards. The plan was funded by the Generalitat and City Hall administrations, also benefiting from European URBAN 1 and FEDER funds.
The results of the project over the 1992–2003 period were quite good in terms of the rehabilitation of the physical infrastructure, citizen involvement, and revitalisation of the local economy (Burriel de Orueta 2000), and led to the plan qualifying for the United Nations worldwide contest for urban renewal projects (Garciacute;a Navarro 2003). In particular, the plan reversed the long-term trend of abandonment of the city core, bringing about a net positive inflow of new residents.
A second major project directly emerging in reaction to the Turia River flood of 1957 was Valenciarsquo;s decision to modify the river bed route, creating a new way for the river to flow to the sea. The City of Art and Science is an outcome of an urban transformation project whose roots can be traced back to the 1970s. In 1986, 120 ha of the old, now-dry, 10-km-long riverbed was redesigned by the Catalan architect Ricardo Bofill to become an innovative linear park, the Jardines del Turia, a green belt servicing the whole city that hints at Moorish gardens, thus referencing the cityrsquo;s history. The green belt is devoted to sports, open-air activities, and cultural
facilities. In 1988, the Generalitat and the Valencia City Hall launched the General Urban Organization Plan (GUOP) to redesign the layout of the city, and announced an international competition for the construction of the new city communication tower to be located along the new green belt. The competition was won in 1991 by the Valencia-born but internationally renowned engineer-architect Santiago Calatrava, who was also appointed for the design of a new, ambitious culture and leisure facilities complex situated just aside of the final segment of the Jardines del Turia, an area that had been decaying for decades because of the presence of highly polluting industrial activities. An impressive number of cultural facilities—Lrsquo;Emisfegrave;ric (a planetarium with an IMAX cinema, a Laserium, and a university conference hall devoted to astrophysical courses); the Principe Felipe Science Museum (a 40,000 m2 interactive facility); the Umbracle (an impressive sculpture garden); the Oceanografic (an ocean park with a large underground development); the Palau de les Arts (a multi-auditorium complex of 43.000 m2 hosting concerts and educational activities)—were opened one after the other every few years starting in 1998 for a total investment estimated to stay close to 3 billion euros. In addi
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