By Alberto Francesconi
Complex Cultural Districts explores the organisational layout concerns in the cultural history area, with specific concentrate on the complicated types of cultural districts for neighborhood socio-economic improvement.
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Complex Cultural Districts explores the organisational layout matters in the cultural history zone, with specific specialise in the complex different types of cultural districts for neighborhood socio-economic improvement.
Extra info for Advanced Cultural Districts: Innovative Approaches to Organizational Design
It is evident that the governance form and the relationship between public and private actors can significantly vary. The success of Denver is largely attributable to the presence of a public institution, the Scientific and Cultural Facilities District (SCFD). A peculiarity of the case lies in the form of fundraising for the organisations involved in cultural activities, resulting from a tax for this purpose. The SCFD is financed by receiving a penny for every ten dollars in revenue produced in the counties that belong to the metropolitan area of Denver.
In addition, there is a high degree of diversification of cultural and non-cultural sectors. Moreover, the systemic–relational criterion for the definition of territorial boundaries is consistent with a strong local identity. However, compared with the recommendations in the literature on advanced cultural districts, the role of private actors would be overshadowed by the predominant role played by public institutions. 1 Comparison of each dimension among the six cultural districts (Legend: 3=High; 2=Medium; 1=Low) Governance Transparency 3 Valle Camonica 3 Wideness Maturity Magnitude/relevance Governance Valtellina Maturity Magnitude/relevance Governance 0 1 1 Transparency 2 2 0 3 3 Wideness Magnitude/relevance Magnitude/relevance Transparency Oltrepò Mantovano - DOMINUS Province of Monza and Brianza The Challenge for Territorial Development 39 The Valtellina district has a better balance in relation to public–private partnership.
The phases of the feasibility study were carried out in parallel. The financial plan represented the first real starting point, with a genuine risk of transposition of means (financial resources) with purposes (designing a cultural district). The guidelines make no reference to the possibility of conflicts and complex negotiations in the definition of the strategic objectives (nor how to address and report them). The ‘conception, initiation, analysis and design’ of the cultural district arose from complex power negotiations among multiple stakeholders, conflicts, ongoing review of problems and alternative solutions, with important processes of ‘reflections’ and ‘learning by doing’.