The Perth Cultural Centre is seen here in full bloom during CHOGM 2011 / Photo: Metropolitan Redevelopment Authority

As much as we prize creativity in cities today, the cultural centers that we’ve built to celebrate it rarely hit the mark. Culture is born out of human interaction; it therefore cannot exist without people around to enjoy, evaluate, remix, and participate in it. So why do our cultural centers so often turn inward, away from the street, onto an internal space that is only nominally for gathering, and is mainly used for passing through? Why do these cultural centers physically remove culture from the public realm and plop it on a curated, often “visionary” pedestal instead of providing a venue for promoting more interaction among the people who create it? “Big Cultural Centers–think of Lincoln Center in Manhattan–they need to turn themselves inside-out and become about culture for all instead of culture for a few,” says PPS President Fred Kent. “Elitism is a big part of what’s going on in some of these places. They exude a subtle sense of who ‘should’ and ‘should not’ be there.’”

Perth’s Metropolitan Redevelopment Authority had a different vision. Their vision was to connect the 23 institutions within the Perth Cultural Centre (PCC) to each other by improving the public spaces that surrounded and connected them, and to extend the precinct past its formal edges, with cultural activity reaching out into the surrounding area like an octopus.  The PCC  is a cluster of institutions located at the hinge point between the city’s central business district and one of its burgeoning nightlife districts, Northbridge. The centre features a mix of historic buildings from the 1800s and Brutalist structures built in the 1960s and 70s, and includes art museums, theaters, a history museum, a major library, and a compact college campus.

The MRA got involved in 2008 by buying and renovating a number of storefronts along William Street, a major shopping corridor on the edge of the PCC precinct, and then carefully managing the selection of tenants. When PPS’s Kathy Madden, Alessandra Galletti, and Josh Kent were brought in back in 2009, the MRA’s understanding of the importance of careful management and cohesive vision proved to be key to developing a Lighter, Quicker, Cheaper (LQC) plan that’s completely changed the public’s perception of the space in a very short period of time. “Compare something like Lincoln Center with the center of culture and diversity they have created in Perth,” says Fred, and you’ll find that the latter is “all about engagement, people, social interaction, a hundred different things to do–maybe nobody wins a design award for it, but that diversification of uses is a really big deal for the people who use that Place, and for their local culture.”

“One of the big things for us was to take the focus off the buildings and put it on the things that happen in the spaces between them,” MRA Executive Director of Place Management Veronica Jeffery explains. “That’s why what we call the ‘quick wins’ strategy was so important: it basically went from planning straight to implementation, and was really powerful. It didn’t leave time for contemplation, which meant that people could see their ideas transform into action.”

Volunteers work on the PCC's amazing "urban orchard" built atop a parking deck / Photo: CPSU/CSA via Flickr

The LQC plan included a working orchard on top of a parking deck, a wetland and play space focused on nature-based discovery, a large screen for projecting movies and digital art, seating, food vendors, etc. Major events like the Perth International Arts Festival and Fringe World Festival relocated to the center’s grounds, which also had the honor of hosting CHOGM 2011.

The culture of risk-taking and experimentation encouraged by the LQC plan has allowed for the MRA team to try some things that failed, learn from them, and move on. This has been greatly aided by the fact that, as part of the Placemaking process, the many once-isolated institutions located within the PCC have come to see their participation in the way that the site is managed as an opportunity to collaborate and enhance their own missions and events. As Alec Coles, Chief Executive Officer of the Western Australian Museum, explains it:

“The recent redevelopment of the Perth Cultural Centre as a ‘people space’ has helped us create the permeability around the Museum that we have long desired. The softening of the edges, not least with the popular sound garden, is making our historic ‘edifice’ a much more welcoming proposition…Too often, cultural centres become cultural ghettos; we are determined that by working with MRA and our many partners that this will not be the case in Perth.”

The good news, today, is that shifting attitudes are chipping away at the austere walls of yesterday’s “culture ghettos,” with people demanding more inspiring, interactive gathering places. Creativity is becoming one of the most coveted social assets for post-industrial cities with increasingly knowledge-based economies–and this is good news for culture vultures and average Joes, alike. “This idea of the ‘Creative Class,’” says PPS’s Cynthia Nikitin, an expert on cultural centers, “is about culturally-based industries, and creatively-engaged people. They could be making clothing, they could be in web or media design. The public’s definition of creativity is really changing to be about celebrating the creativity in all of us, and creating a public environment that supports and encourages that.”

According to Richard Florida, author of Rise of the Creative Class, pressure is mounting on traditional Cultural Centers–what he calls SOBs for ‘symphony, opera and ballet’–forcing more and more of them to adapt to meet the needs of an ever-broadening audience that is looking for ways to engage creatively with each other, and actually participate in culture instead of merely consuming it. “The real challenge for the ‘Big C’ centers,” he explains, “is how to reposition for this shift…these institutions are in trouble. Many teeter on the verge of bankruptcy.  They have to get with it, like universities and all the old school organizations. They have to become more fluid, more open, more accepting.  Less imposing. Think of it sort of like the difference between haute cuisine and great food trucks.”

The MRA's focus on becoming a place for people has created a destination where people can connect and learn from each other / Photo: Fred Kent

Put another way, great, engaging centers of culture are the product of great Placemaking. In Perth, various activities and institutions had co-located, but they hadn’t come out of their respective buildings to interact and make use of their shared space. The Placemaking process allowed the various stakeholders to come together and develop a collaborative vision for their shared site. “We think it’s important to debunk the myth around Culture with a Capital C and make the place inclusive and welcoming to different kinds of people,” Jeffery explains.

That inclusiveness–of organizations, of individuals, of businesses–is the lynchpin in the process of creating great places. Florida notes that Gallup & Knight’s Soul of the Community survey found that the quality of a place’s social offerings was the #1 factor that people said creates emotional attachment to their community. Openness to all sorts of people was #2. “I say the two go together,” he argues. “Our public spaces are perhaps the last vestige of democratic space in our cities.”

Today, we need those kinds of comfortable social environments more than ever. Encouraging creative exploration and experimentation is a great way to develop local talent. As studies (popularized by the writing of Ken Robinson) have shown, while the vast majority of children will answer enthusiastically in the affirmative when asked if they are creative, by the time most people reach high school just as great a majority will say that they are not. For our cities to thrive, we must develop participatory public spaces to re-spark latent creative spirits.

The PCC's openness and flexibility make the precinct ideal for everything from meeting a friend for coffee to meeting a few thousand friends for a concert. / Photo: Metropolitan Redevelopment Authority

“When a cultural institution does programming out in public space,” says Nina Simon, an expert who consulted at museums around the world before taking the helm of the Museum of Art and History in Santa Cruz last year, “there’s a really powerful shift in the context.” Still, she cautions, it’s important that institutions remember that the shift is as important for them as it is for neighbors who attend an event or activity. “If you’re going to be out in public space, you have to have the attitude that this is about connecting to the community that you’re in, rather than just trying to figure out how to plug what you do inside the museum in somewhere else. When TV was invented, people didn’t just say ‘let’s put radio on the television.’ They had to re-think the way programming that was made in order to be successful.”

Over the years, PPS has seen how pulling cultural programming out into streets and squares has transformed not just those public spaces, but the cultural institutions that participated in their renewal as well: from Wade Oval in Cleveland, to Tucson’s Congress Street, to the Bronx River Arts Center in New York. And, of course, there’s the Perth Cultural Centre, where the MRA’s pioneering approach to transforming its precinct lights a new way forward for the formal, inward-focused capital-C Cultural Centers of yore.

“It’s been a challenging process, but the results have exceeded all of our expectations,” Jeffery says. “Ultimately, the centre is a public space, and we want everybody to feel comfortable here. They should be able to come in and feel like it’s theirs. If they happen to have a cultural experience in the process, that’s even better!”

The breathtaking central hall of Cleveland's West Side Market, a major hub in the host city for this year's International Public Markets Conference (Sept. 21-23) / Photo: PBS NewsHour via Flickr

Picture yourself at the supermarket, awash in fluorescent light. You’re trying to stock up for the next couple of weeks, since it’s a busy time of year. You grab some granola bars (and maybe even a box of pop tarts), some frozen dinners, a box of macaroni with one of those little packets of powdered cheese stuff. And oh, they’re running one of those promotions where you can get ten cans of soup for, like, a dollar each. Perfect! Dinner for the next two weeks. On the way to the register, you swing by the produce aisle to grab a bunch of bananas. Like many people these days, you’re trying to eat healthy, and breakfast is the most important meal of the day!

Now imagine that your neighborhood had a public market–the kind of place that’s easy to pop by on the way home from work to grab fresh food every couple of days. Before you reach the open-air shed, you’re surrounded by produce of every shape and color; you can smell oranges and basil from half a block away. As you follow your appetite through the maze of bins and barrels, you bump into your neighbors, and make plans to head downtown to the central market over the weekend to take a cooking class and pick up some less common ingredients. You may even make a day of it and check out the new weekly craft fair that takes place the next block over.

A boy and his mother examine produce at a farmers market in East New York / Photo: PPS

The contrast is stark. In most places today, at least in many Western countries, shopping is a chore; our food system has stopped being about food, and has become entirely about convenience. Food spoils, meaning that we used to have to shop at markets every few days; freezers and preservatives have freed us from those constraints, but in the process food has become disconnected from the natural cycle of daily life–and, thus, the communities of people that we shared our markets with. “There’s a lot of talk about food deserts today, but what many neighborhoods really have are place deserts,” says PPS’s Steve Davies. “As a result, we’re seeing a movement back to this idea of the Market City, with markets acting as catalysts for creating centers in neighborhoods that have lost their sense of place.”

Market Cities (and Market Towns) are places with strong networks for the distribution of healthy, locally-produced food. They have large central markets that act as hubs for the region and function as great multi-use destinations, with many activities clustering nearby; moving out into the neighborhoods, these cities contain many smaller (but still substantial) neighborhood markets that sell all the necessities for daily cooking needs; in between, you’ll find small corner grocers, weekly farmers markets, produce carts, and other small-scale distribution points. Market Cities are, in essence, places where food is one of the fundamental building blocks of urban life–not just fuel that you use to get through the day.

Today, Barcelona is often held up as one of the truest examples of a Market City system in action. “They have an incredibly thriving network of around 45 permanent public markets,” notes PPS’s Kelly Verel, “because when they planned out the city in the late 19th century, they considered markets the same way that you consider all utilities–like, where does the water go, the power, the garbage, etc.”

A map showing the locations of public markets around Barcelona, and the areas they serve.

Barcelona’s markets, many of which now incorporate modern grocery stores, prove that contemporary urban food systems do not necessarily need to use the big box supermarket as their base unit, and that markets are more than just nice extras or luxuries. In fact, with people growing increasingly suspicious of modern agricultural practices, the idea that the paradigm could flip is looking less and less far-fetched. “Markets are viable,” argues PPS’s David O’Neil. “They’ve always been viable, but their viability is especially apt today because the global economy has skewered our sense of being able to support ourselves. Markets are very reassuring places, because they give you a sense of responsibility for your own health. People are experimenting, and reinventing what it means to have a good life.”

According to O’Neil, there is Market City ‘DNA’ still hidden around most cities. Our cities grew up around markets and, while many of the old buildings have been dismantled, inexpensive and lightweight farmers markets have been making a comeback. By 1946, there were just 499 markets left in the US; that number rose to 2,863 by 2000, and then shot up to 7,175 by 2011. Many of the great public markets we know today started out as nothing more than roadside exchanges, so there is reason to believe that some of these new markets could very well put down more permanent roots if they become reintegrated into the life of their surrounding neighborhoods.

Up in Nova Scotia, where Davies and O’Neil have been working with the Halifax Seaport Farmers’ Market, Operations Manager Ewen Wallace notes the importance of his market (which does have its own permanent building) in the local community. “Throughout my involvement in this project and spending so much time face-to-face with the community at large” he says, “the thing that’s really hit home is that the people of Halifax really do consider this their market.”

Shoppers peruse the booths at the Halifax Seaport Farmers Market / Photo: Nicole Bratt via Flickr

And while the market is truly a stalwart (they’ve never missed a Saturday in 262 years!), the role that it plays in the regional economy contributes greatly to the sense of community ownership, since most residents of Atlantic Canada are just a generation away from a farmer or fisherman. “At the end of World War II,” Wallace explains, “we had around 35,000 independent farms in Nova Scotia. Now we have around 3,800. This market is intended to serve as a hub from which money in the urban core is being channeled back into rural areas around the province. This is all tied to food security.”

In Portland, Oregon, Director Trudy Toliver’s Portland Farmers Market benefits greatly from  a strong local food culture. “In Portland, for the most part, we really care a lot about food,” Toliver says. “It’s just important to us; the population has strong values about eating healthy food. We also don’t have many commodity farmers in Oregon–we grow food here. In a way, we’ve hit on the perfect storm.”

When food and agriculture play an important role in local culture, a market becomes an easier sell. But with many cities disconnected from the greater food systems that serve them, ancillary uses become important for longevity. This bodes well for places; as Davies explains: “Great markets are created through the clustering of activity. They require the intentional aggregation of local food production, but also of other services and functions. The food is the central reason for why people gather, and that gathering creates a hub for community life.”

Since markets are centered on the sale of nutrient-rich, natural foods, one smart way to add value to these locations is to focus on creating “healthy food hubs,” which cluster health-related activities around markets to encourage visitors not just to eat more fruits and vegetables, but to take a more proactive approach to their own well-being. Some markets include things like health clinics, fitness classes, nutrition information, or classes that teach healthy living principles. Healthy food hubs are especially useful in low-income areas where the need is more acute because of the high cost of regular preventative medical care.

Markets can also serve to amplify cherished aspects of local culture. Says Verel, “The idea of a marketplace is pretty open to what the talents and interests are in a given region. Food will always be the core, but how you build off of that depends on local needs. What if one of Detroit’s markets was for classic cars? Every Saturday you could set up the food stands in a parking lot, and line classic cars for sale up along the edges. If you’re open to it, a market can be anything.”

Relaxing with a view of the Brooklyn Flea in Fort Greene / Photo: Eli Duke via Flickr

For a success story of a market not only building off of, but strengthening local identity, Verel taps the Brooklyn Flea, which has served as a major driver behind Brooklyn’s well-documented boom in artisanal food and craft goods. “The Flea gave all of these people who had ideas for a product a market, when they couldn’t have gotten it into a store because they were too small. There are so many permanent businesses here that started out of the Flea, and together they give Brooklyn this interesting character.”

This hits on one of the major strengths of the Market City in today’s economy, especially in down-at-heel cities where the things that they used to be famous for making are no longer made. Along with industry, many cities have lost their sense of identity. Markets offer a Lighter, Quicker, Cheaper way to start rebuilding some of that identity and economic activity (as some of our recent work in Detroit has shown). Food is something that every city and town has the resources to produce locally–if a place as densely-built as New York can become an urban agriculture leader, any city can.

In Halifax, Wallace can rattle off a long list of activities that the Seaport Farmers Market has added to its programming, from a library book-drop to serve far-flung farmers, to student art exhibits, to community org booths. These efforts are all aimed at turning the market into a “modern agora,” in his words. Most exciting are the partnerships with businesses in the surrounding area that highlight the market’s vendors, hinting at the potential for markets to serve as economic anchors.

“In the community,” he explains, ” our landlord has put together a committee to get neighbors involved to promote the area as a district. In August of 2011, the market partnered with the Westin Hotel across the street, and they built the concept for their restaurant around the idea of a 100-mile diet–now they’ve got it down to a 50-mile diet. They are sourcing as many ingredients from the market as possible. They’re listing all of the producers from around Nova Scotia on their menus.”

Seattle's Pike Place Market is the hub of a model market district / Photo: PPS

In a Market City, the most vibrant places are these types of market districts: places where market activity spills out into the surrounding streets and businesses. Using the Power of 10 framework, we can identify market districts as neighborhoods with at least ten market-related activities all within close proximity to each other. Zooming out, a great Market City or Market Town needs at least ten market districts, where local activity spreads out from the neighborhood marketplace.

If you want to see a Market City in action, you may want to consider attending the 8th International Public Markets Conference in Cleveland this September. Chosen as the host city because of the role that food is playing in its remarkable turnaround, Cleveland illustrates many of the aspects of a Market City, according to O’Neil.

The West Side Market tower, seen from the nearby Ohio City Farm / Photo: PPS

“From agricultural production areas, to smaller markets, to bigger markets, you can really see things changing in Cleveland,” he says. “For a long time, Cleveland was a Market Town, and now institutions like the West Side Market are leading its post-industrial revival. The WSM isn’t a suburban market, but it’s not right downtown–it was always a neighborhood market. It’s a good lab for seeing the power that a market can have on its town or district. The Ohio City district has become an attractive place to open up a business because of the market. The effect is becoming so positive that it’s affecting the larger city of Cleveland, itself. The market is becoming a sun, and the city is leaning toward it for oxygen, light, and life.”

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Don’t forget — early bird registration for the 8th International Markets Conference ends on July 31st. Act now to lock in the lowest rates!