1

CREATIVE INDUSTRIES IN
NORTHWEST EUROPE:
MAPPING INNOVATION
OPPORTUNITIES
AACHEN – BIRMINGHAM – CARDIFF – DONCASTER – DUBLIN – EINDHOVEN – NANTES - STUTTGART
 2

This paper is a deliverable of the European project

“ECCE INNOVATION – Developing Economic Clusters of Cultural and Creative
Enterprises in the Innovation Process”

PROJECT PART-FINANCED BY THE EUROPEAN UNION

This project has received European Regional Development Funding through
INTERREG IVB NWE

Deliverable Action 1, WP 1:
“Mapping Innovation Opportunities Stemming From Collaboration between Creative
Industries and Other Industries”

Author
Anna Lenka Schlosser (Independent expert)
Co-Author
Bernd Hartmann (City of Stuttgart)

Report supported by all ECCE INNOVATION partners

July 2009

Contact:
City of Stuttgart
Economic Development Department
Marktplatz 1
70173 Stuttgart
Germany
E-Mail : wifoe@stuttgart.de

This publication reflects the views only of the authors, and the European Commission
cannot be held responsible for any use which may be made of the information
contained therein.
 3
E XECUTIVE S UMMARY - E NGLISH
The Creative Industries have become a key-driver of innovation and growth across
Europe. The European project “ECCE INNOVATION – Developing Economic Clusters of
Cultural and Creative Enterprises in the Innovation Process” has set out to foster the
innovation capacity of the Creative Industries in the eight participating cities: Aachen,
Birmingham, Cardiff, Eindhoven Doncaster, Dublin, Nantes and Stuttgart. It does so
by fostering new linkages between the Creative Industries and other sectors,
financing institutions and Higher Education institutions both within cities as well as
between the partner cities.

This report has the aim of mapping innovation opportunities stemming from
collaboration between creative industries and other industries. It is a starting point
for the further actions within the project and gives insight about each city’s
potentials and stakeholders. While this report focuses on the partner cities of the
project, the results and suggestions are to some degree transferable to other cities
and regions in Northwest Europe as well that are sharing similar conditions and
facing the same tasks regarding the transition to the creative economy.

The first part of this report investigates the relationship between the creative
industries and innovation and presents insights from current studies on this topic. .
The different ways how the creative industries contribute to innovation in the wider
economy are being explained. This part also describes creative industries support as
a challenge for innovation policies across Europe and identifies the following
challenges underlying many creative industries policy support measures: (1)
Promoting networking and B2B cooperation among creative enterprises, (2)
Establishing regional clusters, (3) Promoting B2B cooperation between creative
enterprises and other sectors, (4) Encouraging international partnerships and
cooperation in Creative Industries.

The second part of this report provides an in-depth picture of the eight partner cities
of this project, their industrial profile, creative sector strengths and innovation
infrastructure as well as the relevant stakeholders. This mapping constitutes the
major part of this report.

On this basis, the third part of this report identifies complementarities and synergy
potentials within and between participating cities and lines out concrete suggestions
for cooperation projects and linkages. In summary, the following areas of potential
inter-city cooperation for innovation through Creative Industries within the ECCE
INNOVATION project are being identified: (1) Enhancing the innovation potential in
certain creative fields (e.g. Music & ICT, Mobile Media), (2) Applying creative
expertise to other industries for innovation (e.g. design in the medical industries;
serious games for training), (3) Enhancing the attractiveness of cities through
Creative Industries (e.g. building on ethnic diversity for creative industries, creative
industries for leisure and tourism), (4) Building support structures for Creative
Industries (e.g. innovative financing for creative industries, developing local hubs for
the animation industry).
 4
E XECUTIVE S UMMARY - F RENCH
Les industries créatives sont aujourd’hui en Europe un moteur de l’innovation et de
la croissance. Le projet européen « ECCE INNOVATION : développer des clusters
économiques d’industries culturelles et créatives dans le processus d’innovation » a
pour objet de favoriser les capacités d’innovation des industries culturelles et
créatives dans les 8 villes partenaires : Aix la Chapelle, Birmingham, Cardiff,
Eindhoven, Doncaster, Dublin, Nantes et Stuttgart. Ce projet vise à établir de
nouveaux réseaux entre les industries créatives et d’autres secteurs, des
établissements financiers et l’enseignement supérieur, autant au sein des villes
qu’entre les villes partenaires.

Ce rapport a pour objectif de présenter une cartographie des opportunités

d’innovation offertes par la collaboration entre les industries créatives et d’autres
industries. Il permet d’ouvrir la voie à l’adoption de nouvelles mesures au sein
même du projet et présente le potentiel et les interlocuteurs pertinents de chaque
ville en détails. Bien que cette étude soit centrée sur les villes partenaires du projet,
les résultats et les propositions faites sont transférables à d’autres villes et régions
d’Europe présentant un profil similaire, en transition vers une économie de
connaissance.

La première partie du rapport étudie la relation entre les industries créatives et

l’innovation, et présente un aperçu des différentes études en cours sur ce sujet. Sont
exposées également les différentes manières dont les industries créatives
contribuent à l’innovation dans l’économie générale. Cette partie s’attarde
également sur les défis posés par la problématique de soutien aux industries
créatives et aux politiques de l’innovation : (1) promouvoir les coopérations B2B
dans les industries créatives, (2) mettre en place des clusters au niveau régional, (3)
promouvoir la coopération B2B entre les industries créatives et les autres secteurs,
(4) encourager les partenariats internationaux.

La deuxième partie du rapport présente en détail les huit villes partenaires du projet,
leur profil industriel, les forces du secteur créatif, les infrastructures liées à
l’innovation ainsi que les secteurs pertinents. Cette cartographie constitue l’élément
principal de ce rapport.

La troisième partie du rapport identifie les complémentarités et le potentiels des

synergies au sein des villes et entre les villes partenaires, et fait des suggestions
concrètes pour des projets de coopération et des liens à établir. Pour résumer, les
domaines présentant des possibilités de coopération entre les villes partenaires du
projet pour l’innovation de par les industries créatives sont les suivants : (1)
améliorer le potentiel d’innovation dans certains domaines créatifs (ex : la musique
et les technologies de la communication, « mobile media ») (2) appliquer l’expertise
du domaine créatif à d’autres industries pour l’innovation (ex :le design dans
l’industrie médicale, « serious games » pour la formation) (3) développer
l’attractivité des villes grâce aux industries créatives (enjeux d’industries créatives,
diversité ethnique, développement des loisirs et du tourisme), (4) créer des
structures pour soutenir les industries créatives (ex : des financements innovants
pour les industries créatives, développer des centres d’activité pour l’industrie de
l’animation).
 5
E XECUTIVE S UMMARY - G ERMAN
Die Kreativwirtschaft hat sich zu einem wesentlichen Treiber für Innovation und
Wachstum in ganz Europa entwickelt. Das europäische Projekt "ECCE INNOVATION -
Entwicklung von Wirtschaftsclustern kultureller und kreativer Unternehmen
Innovationsprozess" hat sich das Ziel gesetzt, die Innovationskraft der
Kreativwirtschaft in den acht teilnehmenden Städten zu fördern: Aachen,
Birmingham, Cardiff, Doncaster Eindhoven, Dublin, Nantes und Stuttgart. Dies
geschieht durch die Förderung neuer Verbindungen zwischen der Kreativwirtschaft
und anderen Branchen sowie mit Finanzierungsinstitutionen und Hochschulen –
sowohl innerhalb der jeweiligen Städte als auch zwischen den Partnerstädten.

Der vorliegende Bericht hat das Ziel, ein „Mapping“ der Innovationsmöglichkeiten,
die sich aus der Zusammenarbeit zwischen Kreativwirtschaft und anderen Branchen
ergeben, zu liefern. Damit bildet er einen Ausgangspunkt für die weiteren
Maßnahmen im Rahmen des Projektes und gewährt zudem einen Einblick in das
Kompetenzprofil jeder Stadt und die jeweiligen Anspruchsgruppen. Obwohl sich
dieser Bericht daher zwar auf die Partnerstädte des Projekts konzentriert, sind die
Ergebnisse und Anregungen zu einem gewissen Grad übertragbar auf andere Städte
und Regionen in Nordwesteuropa, für die ähnliche Bedingungen und
Herausforderungen gelten im Hinblick auf den Wandel zu einer wissensbasierten
Ökonomie.

Im ersten Teil dieses Berichts wird der Zusammenhang zwischen Kreativwirtschaft

und Innovation diskutiert und Erkenntnisse aus aktuellen Studien zu diesem Thema
erörtert. Die verschiedenen Möglichkeiten, wie die Kreativwirtschaft zu Innovation in
der Gesamtwirtschaft beitragen kann, werden erläutert. In diesem Teil wird die
Unterstützung der Kreativwirtschaft auch als eine Herausforderung für die
europäische Innovationspolitik beschrieben. Die folgenden Herausforderungen
werden identifiziert, denen sich Unterstützungsmaßnahmen typischerweise stellen
müssen: (1) Förderung der Vernetzung und B2B- Zusammenarbeit zwischen
kreativen Unternehmen, (2) Schaffung von regionalen Clustern, (3) Förderung der
B2B-Zusammenarbeit zwischen kreativen Unternehmen und andere Branchen, (4)
Förderung internationaler Netzwerke und Kooperationen in der Kreativwirtschaft.

Der zweite Teil dieses Berichts liefert ein detailliertes Profil der acht Partnerstädte
des Projekts, ihrer Industriestruktur, den Schwerpunkten der Kreativwirtschaft und
der Innovations-Infrastruktur sowie der relevanten Akteure. Diese Analyse macht
den Großteil dieses Berichts aus.

Auf dieser Grundlage werden im dritten Teil dieses Berichts komplementäre

Schwerpunkte und Synergiepotenziale innerhalb und zwischen den beteiligten
Städten identifiziert. Dabei werden auch konkrete Vorschläge für
Kooperationsprojekte und Verknüpfungen gegeben. Potenziale ergeben sich in den
folgenden Bereichen: (1) Stärkung des Innovationspotenzials in einzelnen
Kreativbranchen (z.B. Musik &IKT, Mobile Media), (2) Innovationstransfer kreativer
Potenziale auf andere Branchen (z. B. Design in der Medizintechnik; Serious Games),
(3) Steigerung der Attraktivität der Städte durch Kreativwirtschaft (z. B. Nutzung
kultureller Vielfalt, Kreativ-Tourismus) (4) Aufbau von Unterstützungsstrukturen (z.
B. innovative Finanzierungsquellen, Entwicklung von Animationsmedien-Clustern).
 6
T ABLE OF C ONTENTS

Part 1: Creative Industries and Innovation

1.1. Introduction ...................................................................................................... 8

1.2. Creative Industries & Innovation: An Overview................................................. 9

1.3 Innovation Policy Challenges............................................................................ 14

Part 2: ECCE INNOVATION City Profiles

2.1. Introduction .................................................................................................... 18

2.2. Aachen City Profile .......................................................................................... 19

2.3. Birmingham City Profile .................................................................................. 29

2.4. Cardiff City Profile ........................................................................................... 39

2.7. Doncaster City Profile...................................................................................... 51

2.5. Dublin City Profile ........................................................................................... 58

2.6. Eindhoven city Profile ..................................................................................... 78

2.8. City Profile Nantes........................................................................................... 86

2.9. Stuttgart City Profile........................................................................................ 97

Part 3: Identifying Innovation Opportunities

3.1 Introduction ................................................................................................... 110

3.2 Overview: City Profiles ................................................................................... 110

3.3. Collaboration Opportunities per City ............................................................ 113

3.3 Suggestions for Inter-City Cooperation........................................................... 122

Annex 1: Summary of Results of the First T.A. Workshop in Stuttgart................. 127

Annex 2: Other relevant European Projects ........................................................ 130

 7

PART 1:
CREATIVE INDUSTRIES
AND INNOVATION
 8

1.1. I NTRODUCTION
Within the digital economy, creative content, as well as the notion of creativity as a
generic innovative force, are gaining importance. The creative industry sector
expands steadily and its (economic) value continues to grow exponentially. Despite
being described as “cottage industries”, which predominantly consist of small and
medium sized enterprises (SMEs), the Creative Industries cover a variety of sub-
sectors which are vital to European employment, competitiveness and hence to
meeting the targets of the Lisbon Agenda.

In contrast to most other industries, their main output is intellectual property (cp.
DCMS 2001 – also quoted below) – demand for which is often tailored to the specific
requirements and preferences of individual users and is likely to increase with
growing per-capita income. The Creative Industries are therefore regarded as one of
the most promising fields of economic and regional development in Europe.

The rising attention towards the sector – particularly from the political level – can be
seen as a result of their polyvalence: Creative and Cultural Industries and related
activities can be seen as a promising economic sector, which still offers a potential
for growth. Furthermore, their tendency to develop in “clusters” feeds further hopes
relating to their contribution to regional development in general. Finally, cultural
and creative activities have – already since the 1990s – gained increasing relevance
when thinking about solutions for improving social and territorial cohesion.

Since it is difficult to precisely measure the impact Creative Industries and related
activities play in the process of regional innovation, in the following we will try to
sketch out the qualitative nature of their relationship in more detail. Our focus will
lie on the role of Creative Industries for an economy’s innovation performance.

Based on the assumption, that Creative Industries need a supportive environment in

which to flourish, this first outline will be the starting point for looking at the
Creative Industries sector and the innovation infrastructure in the ECCE partner
cities in the second part of this study. We undertake a mapping exercise in order to
identify potential innovation/ collaboration opportunities between and within
participating cities of relevance for the Creative Industries. The mapping will identify
main economic trends and political priorities within the participating cities and take
a closer look at their respective Creative Industries ecosystem. On this basis, the
third part of this study will identify complementarities and synergy potentials
within and between participating cities and city-regions and line out concrete
suggestions for cooperation projects and linkages.
 9

1.2. C REATIVE I NDUSTRIES & I NNOVATION : A N

O VERVIEW
Both terms – innovation and Creative Industries – are currently “fashionable”
concepts, however, their exact meaning and definition is – and will most likely
remain – unclear. The first step in our analysis is therefore to sketch out working
definitions for our report.

Creative Industries:

The city profiles will follow the Creative Industries definitions present in the
respective ECCE partner cities. However, for lining out the relationship between
Creative Industries and Innovation in general we follow the DCMS definition and
understand the Creative industries as industries that typically include a focus on
creating and exploiting intellectual property products such as music, books, film and
games; or providing business-to-business creative services including advertising,
public relations and direct marketing.

Also, Creative Industries have a characteristic business structure:

1) They are SME dominated with a high job intensity.

2) In contrast to traditional industries Creative Industries still have a growth
potential.
3) Creative Industries start-ups are very personnel-intensive
4) Creative Industries show a higher percentage of female employees than
traditional industries.
5) Creative Industries tend to grow in regional clusters, i.e. due to the small size of
individual businesses, they flourish in an environment with the “similar-
minded”.
It is the last point – their tendency to grow in clusters – but also the more or less
articulate belief that these industries still show a growth tendency - which feed
hopes in many Western countries into the rejuvenating function of the creative
industries for regional development.

Therefore one of the main objectives of this study is to look at this relationship in
more detail: The focus will lie on the interdependency between Creative Industries
and Innovation in other economic sectors.

This leads us to the second key concept:

Innovation

We argue that although the common understanding of innovation is often linked to

advanced technology, innovation is a far broader concept which is not restricted to
technological innovation or pure market value. In our understanding the very idea of
innovation refers to the introduction of something new – be it a product, service,
process or philosophy – in a given system, which has a groundbreaking and positive
effect on the way the system operates.

This concept implies that the term “innovation” is always relative: What is new
depends on the system, in which it is introduced. We therefore distinguish not only
 10
between process and product innovation – the traditional division line – but also
between novel innovations – i.e. innovations that have not been introduced by any
other enterprise before (market novelties) and imitations, i.e. innovations which
were copied from an earlier innovator but which are new to the company and
changes the way it operates (cp. Müller et al 2008).

With large parts of the Creative Industries relying on creating new content and new
kinds of experiences, also “content innovation” is a type of innovation that is often
overlooked when dealing with innovation in the Creative Industries. This might e.g.
include a new way of storytelling in a TV Series or a Video Game or a new style in
music – which in the end has a profound impact on the development and market
success of the segment in question. Furthermore, in the Creative Industries, much
innovation is “hidden” (cp. Bakshi et al), i.e. it is not being captured by the classical
innovation indicators.

As these different understandings and facets of innovation show, innovation is not

only technology-driven, but is itself a process which involves a variety of
stakeholders – both from within businesses and from the outside. Therefore, our
study and the city profiles focus not only on single businesses from the Creative
Industries, but on their “business ecosystem”, which includes the whole business
environment, research organizations, intermediaries etc. It assumes that innovations
occur in those very ecosystems, which are generated by the interaction of different
stakeholders, their respective actions, rules, norms and tools.

This idea that Creative Industries contribute to innovation in other sectors of the
economy – and the underlying perspective on economic ecosystems rather than on
single sectors - is strongly linked to the concept of open innovation (Chesbrough
2003). According to this concept, businesses today must open their innovation
processes to external actors and enter into dialogue with their environment – even
with competitors - in order to stay competitive.

A main hypothesis of this study is therefore, that the tendency to innovate rises with
the level of interaction of businesses with their environment.

Consequently, this holistic view on businesses and their respective environment

implies that the capacity of businesses to change and innovate depends on further
actors and their influence and impact. Cooperation with partners – from different
sectors, businesses or research – turns out to be crucial for innovation on all levels.
Communication, coordination between different actors, organisational culture and
the promotion of talents are therefore as important for innovation as technological
change.
 11
INNOVATION IN CREATIVE INDUSTRIES

Due to their relatively small size and a high share of service-oriented business
models, businesses from Creative Industries typically have a high degree of
interaction and cooperation with their environment. This explains that Creative
Industries businesses turn out to be significantly more innovative than enterprises
from other knowledge intensive sectors (Müller et al. (2008)).

When looking at the Creative Industry sectors in more detail, those sectors which
typically have tight linkages to other businesses – e.g. as service or technology
provider – show the strongest likelihood to innovate: Müller et al (2008) are able to
prove that Publishing, Advertising, Software, Content sectors report high shares of
innovators, Design shows an average probability whereas architecture is the only
sector below average share of innovators.

However, our report does not focus on innovation within Creative Industries alone,
but also takes into consideration the effects on other industries:

INNOVATION SPILL OVER

Creative Industries are an important provider of novel tools, technologies or ideas

and thereby contribute to innovation in other sectors of the economy as well (input-
driven innovation). On the other hand, many branches of the Creative Industries rely
on novel technologies – thus they generate innovation in other business sectors –
particularly in the field of ICT – via their demand of novel technologies (demand –
driven innovation).
 12
Particularly with regards to user-driven innovation, Creative Industries have
experience and tools which support continuous interaction between users and
producers – which is increasingly regarded as central to innovation in further sectors
as well (cp. European Network of Living Labs Initiative etc.).

Examples of creative innovation services in innovation processes

Creative innovation Value

service

Creativity services Providing new ideas as content into other

businesses

Creating new market Shaping consumer preferences and

niches perceptions to differentiate

Design and interface Shaping interactions between the technical

and social

Normalisation of novelty Via storytelling, representatives of new

(magazines, advertising, TV drama)

Persuasion Translating models of value delivery

Business models Creating communities, shaping identity

Connecting to user Choice over uncertainty in social context and

communities signaling

Social network markets Social context of use

Technologies to lifestyles Applications of technology

Source: Potts and Morrison (2009): Nudging Innovation

DEMAND-DRIVEN INNOVATION

Creative Industries are, as a sector, intensive users of technology and often demand
adaptations and new developments of technology, e.g. technical equipment or
software in the music and film industry, innovative materials used in product design
or performing arts. This demand provides innovation impulses to technology
producers.

The following graph illustrates the two-fold relationship between Creative Industries
and the innovation performance in other sectors:
 13

We assume that the impact between Creative Industries and other economic fields is
highest when input- and demand-driven innovation processes operate together.
Those sectors, which rely strongly on innovative technologies and tools (e.g. mobile
applications, Games etc.), thus seem to have a high impact on industrial innovation
in other economic sectors.

FURTHER TARGET SECTORS

Creative Industries not only contribute to industrial innovation but profit from a
diversified mix of customers. Their activities therefore have the potential to
contribute to the performance of a variety of other sectors by providing creative
inputs. Potential “spill-over” targets include e.g. the following:

• Other creative sectors (e.g. partnerships between Visual Arts & ICT)
• Businesses from other branches (e.g. partnerships design & crafts)
• Education & Training (e.g. partnerships performing arts & business coaching)
• Health, Life Sciences (e.g. partnerships Music & Hospitals)
• Tourism (e.g. partnerships museums, galleries & tourism boards)
• Etc.

To conclude, for the purpose of this study, we follow a process-oriented definition of

innovation. Innovation is regarded as the implementation of something new in a
given system – be it a technology, a business process, a philosophy or a design.

Furthermore, innovation is the result of interaction, communication and

combination. Linkages and cooperation with stakeholders from the “outside”, the
business ecosystem are therefore central for improving the framework conditions
for innovation.
 14
Creative Industries are already in a good position to innovate: Due to their small size
and their service-oriented business models, they often have strong linkages to their
environment – be it with similar businesses, research or intermediaries.

When looking at the potential of Creative Industries to promote innovation in other

economic sectors, those sectors, which rely strongly on innovative technologies and
tools (e.g. mobile applications, Games etc.), seem to have the highest impact.

The potential of Creative Industries to foster innovation in other sectors rises with a)
the degree of interaction with their environment b) the level of technology applied.
Those two points are intertwined: Business-research interaction can improve the
quality of applied technologies, and the use of innovative technologies can have a
positive impact on business-to-business interaction.

1.3 I NNOVATION P OLICY C HALLENGES

As research and experience of ECCE partners shows, there are a variety of
programmes and measures, which aim at supporting the sector and establish links to
other economic and social fields. Due to the relatively recent “discovery” of Creative
Industries by policy makers, most initiatives are still young and there is a lack of
empirical evaluation regarding their effectiveness.

Also, when looking at NWE regions, there are differing levels of experience and
expertise on the set up and design of these programmes – depending on national
and regional contexts and the prevailing understanding of Creative Industries (which
differs substantially e.g. between France and Britain).

Taken together, there is no lack of tools from and for the creative sphere – however,
there is a need for better environments to use these tools for their best effect.

The following lists the most important challenges underlying many Creative
Industries Policy support measures. The list also takes into consideration the most
important findings of the ECCE Innovation Conference “European Creativity
Dialogue”, which took place in May 2009 in Stuttgart (see Annex I).

1. Promoting networking and B2B cooperation among creative enterprises

Networking among creative enterprises helps to support innovation in the

wider economy. However, research and experience have shown, that it is only
via concrete cooperation projects between creative businesses, i.e. developing,
producing and delivering products and services jointly with other creative
enterprises, that innovation takes place. Therefore a first challenge to ECCE
Innovation is to find solutions for bridging the gap between networking
initiatives – which exist in most of ECCE partner cities – and project-based
business cooperation.

2. Establish regional clusters

Cluster approaches (cp. Pratt 2004) can help intensifying ties among creative
enterprise and reduce transaction costs. Creative Cluster Development has
become a preferred approach by cities and regions to foster Creative Industries.
However, too little is known so far about what kind of Creative Clusters work:
 15
should the cluster have only one focus (e.g. a film cluster) or span several
sectors of the Creative Industries? Or should it also be mixed with traditional
industries? The ECD Creativity Dialogue 2009 in Stuttgart has demonstrated,
that more intelligence and studies are needed in this field.

3. Promoting B2B cooperation between creative enterprises and other sectors

As argued above, Creative Industries can contribute to innovation in other

economic and social fields. Linkages between Creative Businesses and
stakeholders from other economic sectors or social fields, are crucial to benefit
fully from the diverse innovation opportunities at stake.

However, dialogue between the Creative Sector and other industries is often
hindered through different mindsets and the lack of a common language and
efficient instruments to foster inter-sectoral cooperation are still rare. A central
challenge for ECCE Innovation is therefore to find appropriate formats and
procedures to fill this gap.

A system of Creativity Vouchers, as already in place in some European regions,

seems to be a promising approach to trigger contacts between creative
companies and other industries through an initial financial backing. However,
this system should be further investigated and tested in different regional
contexts.

4. Encouraging international partnerships and cooperation in Creative Industries

In a globalising knowledge economy companies can hardly survive without

active collaboration with others. Increased complexity of the R&D and
innovation processes and shortened “time to market” for most innovations
force companies to look outside their own organisation and form strategic
partnerships or networks with other organisations. This is true especially for
companies in the creative industries.

Also when looking at regional clusters, their effectiveness depends on global

value chains and innovative networks. It is the linkages external to the regional
cluster which provide the regional companies and organisation with cutting-
edge knowledge in the relevant fields.

Therefore, international partnerships are crucial for the success of a singly

company as well as for the competitiveness of clusters as a whole.

In the following part, we will look at the respective “business ecosystem” of

participating ECCE Innovation partner cities in more detail.

SOURCES (SELECTION)

Hasan Bakhshi, Eric McVittie and James Simmie (2008): Creating Innovation. Do the
Creative Industries support innovation in the wider economy? NESTA Report,
URL: http://www.nesta.org.uk/assets/Uploads/pdf/Research-
Report/creating_innovation_report_NESTA.pdf
 16
Irene Cassarino, Aldo Geuna (2008): Background paper on ICT and Creative
Industries, Study prepared for the EU-project CReATE, 2008, URL:
http://www.lets-
create.eu/fileadmin/_create/downloads/BGP_ICT_and_Creative_Industries_20
08.pdf

Henry Chesbrough (2003): Open Innovation: the new imperative for creating and
profiting from technology, Harvard Business School Press.

DCMS (2001): Creative Industries Mapping Document 2001, URL:

http://www.culture.gov.uk/images/publications/foreword.pdf

Key Cities Group (2007): Mapping Innovation Capabilities. Final Report to Yorkshire
and Humber. URL:
http://www.leedscityregion.gov.uk/uploadedFiles/Research_and_Publications/
General_Publications/M08%20-%20Appendix6_Innovation_Mapping.pdf

Ian Miles and Lawrence Green (2007): Hidden innovation in the Creative Industries,
NESTA Report, URL: http://www.nesta.org.uk/assets/Uploads/pdf/Research-
Report/hidden_innovation_in_creative_Industries_report_NESTA.pdf

Kathrin Müller, Christian Rammer, Johannes Trüby (2008): The Role of Creative
Industries in Industrial Innovation, ZEW Discussion Paper No. 08-109, URL:
ftp://ftp.zew.de/pub/zew-docs/dp/dp08109.pdf

Tobias Nielsén (2004): Understanding the Experience Industry. A Swedish

Perspective on Creativity. URL:
http://www.norden.ee/failid/File/CI%20conference/Experience%20Industry_S
weden%20QNB.pdf

Justin O’Connor (2007): The Cultural and Creative industries. A Review of the
Literature. ed. By: Creative Partnerships, Arts Council of England, URL:
http://www.creative-partnerships.com/CP_LitRev4.pdf

Jason Potts, Kate Morrison (2009): Nudging Innovation. Fifth generation innovation,
behavioural constraints, and the role of creative business – considerations for
the NESTA innovation vouchers pilot, URL:
http://www.nesta.org.uk/assets/Uploads/pdf/Research-
Report/nudging_nnovation_report_NESTA.pdf
 17

PART 2:
ECCE INNOVATION
CITY PROFILES
 18

2.1. I NTRODUCTION
Cities and city-regions are being increasingly recognized as the drivers of national
economic development, with cities becoming increasingly important as centres of
innovation and knowledge.

Due to globalization and increasing mobility, cities are now finding themselves
competing with other international cities for investment, with factors other than
cost often deciding the destination of this investment. It is e.g. the interplay
between industry and academia, a motivated, educated and creative workforce,
targeted, demand-oriented and synchronized public support measures which make
up the “innovation infrastructure” of a particular city or city-region and determine
the level and quality of innovation activities.

The INTERREG IVB NWE Project ECCE INNOVATION aims to improve this innovation
infrastructure of participating cities/city-regions, with a particular focus on the
environment for Creative industries businesses.

In order to develop targeted support and networking measures, the following part
will line out the innovation infrastructure of the participating cities in more detail.
The focus will lie on sketching out the environment Creative Industries are
embedded in, however, since linkages to other economic sectors are crucial to
innovation, the profiles will also provide an insight into the “innovation ecosystem”
1
of the respective cities as a whole.

These city profiles will be the starting point for identifying synergies between and
within cities and develop strategic partnerships, based on complementary strengths
and common objectives.

1 Please note that the city profiles have been developed in close cooperation with the
respective city representatives, present in the ECCE consortium. Although we did
our best to provide correct and up-to-date information on the institutions listed
here, we apologize in advance for any mistakes and welcome feedback and
comments.
 19

2.2. A ACHEN C ITY P ROFILE

2.2.1. I NTRODUCTION

City Profile Overview

Further Economic Sectors Aachen

Health & Medical
Industries

Games Energy

CULTURAL INDUSTRIES

Design
Electronics Film / TV Fine Arts

CORE ARTS FIELDS New Materials

Advertising
Music
Literature
Architecture
Publishing
ICT
Chemicals Design

Life Sciences
CREATIVE INDUSTRIES AND
Automotive Supply ACTIVITIES

Industrial Design

The city of Aachen is the westernmost city of Germany, located along its borders
with Belgium and the Netherlands. It has a population of app. 250.000 inhabitants
(2007), which encompasses almost 40.000 students, most of them male. 14,2 % of
the population are foreigners.

Political Priorities of city development are put e.g. on the topic of sustainability.
Aachen has been member city of “Eco-City of the Future” (an award for the city’s
balance between ecology and economy), and the city’s acquired knowledge in this
field has led to the involvement in a variety of international projects as well. Another
priority is in the field of innovative administration. Aachen participates in EU
programmes for the standardisation of e-government processes. Furthermore the
city runs programs to enhance the image of a family-friendly city, which is also
related to the anti brain-drain policy.

On March 2009 the city government and a range of companies and universities have
acceded to the “Charta der Vielfalt” (charta of diversity), a German campaign to
promote cultural and ethnic diversity. (http://www.vielfalt-als-chance.de)
 20
ECONOMY

The region is one of the oldest industry regions in Europe. Particularly the Textile
and Food industries have been of relevance to the economy of the city. The city of
Aachen also used to be the administrative centre for the coal-mining industries in
neighbouring places to the northeast. However, the textile industries, have been
dead for almost half a century now and thus, also due to the decline of coal-mining
in the Ruhr-Gebiet, the city has undergone a structural change.

Unemployment is a serious challenge for the city (11,5% in mid-2009) as is the

relatively low per capita income. However, Aachen is a growing city in terms of
2
population (4.6% between 2002 and 2007 ). The amount of highly-skilled employees
among the workforce is fairly high in comparison with other German cities (15.4 %).
Still, Aachen faces brain-drain problems as a lot of the highly qualified engineers and
scientists that graduate from RWTH move on to other parts of the country that offer
higher wages.

Today, products manufactured in or around Aachen include electronics, chemicals

or car tires. Furthermore Aachen hosts large trade companies and service providers.
Most importantly, Aachen has a large number of spin-offs from the university's IT-
technology department and is a major centre of IT development in Germany. The
loss of 34.000 jobs in old industries has not been totally recovered by the creation of
new jobs in the knowledge economy. Yet, the number of start-ups has risen
considerably since 2000 (from 40.000 to 52.000 companies in the region).

INTERNATIONAL NETWORKS

As part of the Euregio Maas-Rhein: (http://www.euregio-mr.org) cross-border

cooperation plays a particular role. Aachen also belongs to the first German-Dutch
cross-border science business park AVANTIS (http://www.avantis.org/), located
between Aachen and Heerlen.

Additionally, the cities of Aachen, Hasselt, Heerlen, Liège and Maastricht have begun
to intensify their cooperation under the title of the “MAHHL” cities. Their aim is to
represent the interests of these large urban areas in cross-border meetings. These
partner cities also continue to intensify their cooperation with regard to economy,
science, retail business, culture and tourism.

Aachen is also partner in the Eindhoven-Leuven-Aachen-Triangle“ project (ELAT),

which aims at fostering cooperation between the cities, universities and regional
development locations. (http://www.elat.org)
3
A recently published report focuses on cross-border activities in the field of culture,
assesses ongoing activities in the field and takes an outlook on opportunities for the
application as cross-border “European Cultural Capital”

2 Cp. http://www.insm-wiwo-staedteranking.de/2008_stadt_aachen.html
3 http://www.cultural-economy.eu/kwb_l_final_6-DE.pdf
 21
Furthermore, the city has twinning agreements with the following cities:

• Reims (FR)
• Halifax (UK)
• Toledo (ES)
• Naumburg (D)
• Arlington County (U.S.A.)
• Cape Town (ZA)
• Kostroma (RUS)

2.2.2. M AIN I NDUSTRIES – B USINESS S ECTORS

The scientific competence available in Aachen has attracted famous international
enterprises and research institutions including Ericsson, Ford, Philips, Takeda
Pharma and Microsoft. Some 500 new companies providing over 10.000 jobs have
grown up since 1985.

Key business & employment sectors and clusters

Aachen's economy is based on the following growth clusters:

• ICT (many of the spin-off’s from university and research centres)

• automotive (supply industry, R & D for motor technology)
• health & medical industry (from spas over Life-Sciences to medical technology)
• new materials
• engineering (as a transversal feature resulting from the excellent output of
engineers coming from Aachen university)
• energy (legacy of Aachen's industrial history, now excelling in alternative
energy: solar, windmills, R & D).
These clusters have their counterparts in Belgium and the Netherlands, and cross-
border contacts have been established. However, the Aachen clusters do not
represent full value chains, as Aachen lacks, in most cases, the end of the value
chain, namely the production of consumer goods.

Political Priorities focus on sharpening Aachen’s profile as a science and technology

region. Therefore the sectors automotive, ICT, life sciences and new material
development receive particular support.
 22
2.2.3. R ESEARCH L ANDSCAPE
Aachen is an important university city. Nearly 40.000 students attend Aachen’s four
major colleges and universities (Rhineland-Westphalian Technical University [RWTH],
University of Applied Sciences, Catholic University of Applied Sciences and Academy
of Music). The scientific competence available in Aachen has attracted famous
international enterprises and research institutions.

The economic success story of Aachen is a result of cooperation between the

universities and the chambers of industry, research institutions, companies, business
establishment centres and the city’s administration.

The most important research institutions (selection):

Rhineland-Westphalian Technical University (RWTH)

http://www.rwth-aachen.de

RWTH Aachen University is characterised by its strength in science and engineering

education. It also provides a wide range of subjects in Economics, Arts and
Humanities and Medicine with an emphasis on intensive interaction between all
disciplines. The focus on interdisciplinarity in research and teaching is a direct
response to the demands placed on future young professionals.

9 competence & branch networks, institutes are connected to RWTH, e.g. in the
fields of materials, textile, ecosystem analysis, company cybernetics, electricity,
ceramics.

Furthermore the 'Institute for Research in Textiles' is currently at foundation, which

will combine institutes, currently working independently, all with a focus on research
in textiles. The focus will not be on the production of high-quality/ -tech
materials/textiles that can be used in medicine, automotive, aerospace or
construction.

University of Applied Sciences

http://www.fh-aachen.de

In 1971, the Aachen University of Applied Sciences was created from the
consolidation of several universities of applied sciences and professional training
institutions. Theory and practice are closely connected throughout the entire
programme of study. This orientation toward practical professional experience
guarantees students a professionally oriented and research-based education.

The university has more than 8000 students and offers bachelor and master courses
in the areas of engineering science, business and design. Several degree
programmes are offered as dual and occupational degree programmes.
 23
Catholic University of Applied Sciences
http://www.katho-nrw.de

The Catholic University of Applied Sciences is a small university with a focus the
fields of social work, educational science, social management and related fields. It
has app. 750 students.

Academy of Music
http://www.mhs-koeln.de

The Academy of Music is part of the Academy of Music in Cologne. It offers courses
in a variety of musical instruments, as well as a bachelor in dance and Music in
Education.

European Microsoft Innovation Center (EMIC)

www.microsoft.com/emic/

The Center in is one of Microsoft’s facilities in Europe dedicated to collaborative

research and technology development. The laboratory is unique to Microsoft in its
focus on collaborative applied research and technology development and in its goal
of contributing to the public research programs of the European Commission and
the German Government.

Forschungszentrum Jülich
http://www.fz-juelich.de

Forschungszentrum Jülich pursues cutting-edge interdisciplinary research on solving

the grand challenges facing society in the fields of health, energy and the
environment, and also information technologies. In combination with its two key
competencies – physics and supercomputing – work at Jülich focuses on both long-
term, fundamental and multidisciplinary contributions to science and technology as
well as on specific technological applications. With a staff of about 4400, Jülich – a
member of the Helmholtz Association – is one of the largest research centres in
Europe.

Fraunhofer Institute for Production Technology IPT

http://www.ipt.fraunhofer.de

The Fraunhofer IPT is carries out application-oriented research in all aspects of

production technology.

It encompasses departments for process technology, production machines,

metrology and quality management as well as technology management which
provide the institute's project partners and clients with individual solutions as well as
with research findings that can be put to practical use in production.
 24
Fraunhofer Institute for Laser Technology ILT
http://www.ilt.fraunhofer.de/

Research focuses on the field of solid state lasers, diode lasers, laser optics, laser
cutting, laser welding, surface treatment, micro technology, laser measurement and
testing technology, plasma technology, modeling and simulation as well as system
technology for your innovations.

Fraunhofer Institute for Molecular Biology and Applied Ecology

http://www.ime.fraunhofer.de/

The institute carries out contract research in the field of applied life sciences from
the molecular to the ecosystem level in the areas of pharmacy, medicine, chemistry,
agriculture, and environmental and consumer protection.

2.2.4. ECCE C REAT IVE S ECTOR P ROFILE

2.2.4.1. D E FI N I T I O N C R E AT I V E I N DU ST R I ES
4
According to a report by the initiative “Gründerzentrum Kulturwirtschaft Aachen”
the term Cultural/ Creative Industries “includes those cultural and creative
businesses that are predominantly profit-oriented and deal with the creation,
production, distribution or dissemination through the media of cultural/creative
goods and services. These form the private (economic) sub sector of the overall
cultural/creative sector.” This includes the following sub sectors: music industry,
literature, book and press market, arts market, film, video and broadcasting
industries, design and architecture market, cultural heritage market, advertising
market and manufacture of software and games.

4 Creative Industries in Aachen. Potentials of a Town (2007)

 25
2.2.4.2. M AI N C R E AT I V E I N D U ST R Y S EC T O R S
The Cultural Industries in the economic region of Aachen consisting of a total of
2,100 self-employed persons and taxable businesses achieved a total turnover
volume of almost EUR 990 million in 2005. If the creative sectors of advertising and
manufacture of software and games are included in a broader definition of "Creative
Industries", the corresponding figures for the economic region of Aachen rise to
2,900 self-employed persons and taxable businesses with a total turnover volume of
EUR 1.4 billion. The share of the Creative Industries in the overall economy amounts
to 6.5 per cent when looking at the number of enterprises and 3.3 per cent with
respect to turnover value.

The development over the last 5 years shows the increasing importance the Cultural
and Creative Industries have gained for the Aachen economic region. The number of
self-employed persons and businesses rose by 18 per cent and 19.1 per cent
respectively between 2000 and 2005, whereas the corresponding figures for the rest
5
of North Rhine-Westphalia amounted to only 10.5 per cent and 12.1 per cent.

Design, Architecture and Fine Arts are the most important creative sectors,
according to employment, turnover and number of companies. With a high degree
of highly qualified ICT employees Design is first among creative branches of the city,
whereas the relevance of architecture is declining.

Also the Publishing Industry is traditionally quite strong, with a high number of
employees, yet decreasing turnover and company figures. Publishing, Music, Crafts
and Literature all show a tendency towards particularization: The number of
companies is rising, whereas the number of employees is falling. This implies that
many employees try to set up their own business as a result of declining job and
career prospects within existing larger companies. However, their long-term success
can not yet be evaluated.

The municipality of Aachen was early engaged in the potentials of the Cultural
Industries in Aachen, namely not only with respect to the variously quoted “soft
location factors”, but rather regarding the Cultural Industries as an autonomous
economic factor and innovation driver for other branches.

First studies in the recent past have shown that there is a growth potential as to
business start-ups in the Aachen area.

5 Creative Industries in Aachen. Potentials of a Town (2007)

 26
Economic data for the culture/creative industries sector
in the economic region of Aachen, 2005
Number of enterprises and turnovers, 2005, absolute figures and percentage
6
changes, 2005 compared to 2000

Changes in per cent

Economic sector Enterprises Turnover 2005 2000

Total in compared
2005 EUR 1,000 to
2005

I. Cultural Industries

Publishing sector, phonographic 101 495,200 0.0 144,7

industry

Film industry/TV production 97 24,703 16.6 41,6

Broadcasting/TV corporations 9 3,044 12.5 34,0

Performing/visual arts, literature, 473 55,786 14.0 14.0

music

Journalists, news agencies 145 13,039 45.0 108,8

Museum shops, art exhibitions etc. 20 2,630 -4.8 -60,5

Book, music and art trade 137 176,806 -4.3 39,7

Architectural offices 668 115,195 -3.8 -20,3

Design (industrial, graphic, 466 101,524 105.1 47,2

communication)

Cultural Industries overall 2,116 987,927 18.0 59,4

II. plus creative sectors

Advertising 247 111,855 -25.2 -25.2

Manufacture of software and 550 271,076 70.8 55,7

games

I. + II. Creative Industries 2,913 1.370,859 19.1 46,2

All economic sectors (A.-O.) 44,644 41.897,024 3.9 6,3

Share of Cultural Industries in 4,7 % 2,4 %

overall economy

Share of Creative Industries in 6,5 % 3,3 %

overall economy

6 Source: Turnover statistics, LDS NRW 2007; calculated by M. Söndermann, cp.

Creative Industries in Aachen. Potentials of a Town, 2007, p.5.
 27
2.2.4.3. R E S EA R C H & E DU C AT I O N E N V I R O N M EN T
Although the research infrastructure in Aachen is very impressive, particularly with
regards to engineering, sciences and IT related fields, options for the creative
branches are limited. However, particularly in the area of Design there are some
successful examples, which demonstrate that qualification and education is the key
to producing new jobs and business opportunities.

The following lists the most relevant institutions and courses:

FH Aachen Design Department

http://www2.design.fh-aachen.de/

The University of Applied Sciences offers bachelor courses in the field a)

communication design and b) product design. A Master of Arts in Design is currently
in preparation.

Craft Design (Handwerksdesign)

http://www.gut-rosenberg.de/

The „Gut Rosenberg“ is part of the chamber of crafts in Aachen. Its further education
course on “craft design” is aimed at creative craftspeople. It combines crafts design
and business management. The course has a duration of 6 semesters (3 years) and
is carried out by an interdisciplinary team of designers, architects and artists.

Furthermore, the “Gut Rosenberg” offers a variety of short seminars and a summer
academy on selected creative fields, e.g. drawing, photography, colour, form and
space, printing is offered to all interested people – also non-craftspeople.

RWTH Aachen Faculty of Architecture

http://www.rwth-aachen.de

The Faculty of Architecture offers Bachelor and Master Courses in Architecture as

well as a Master Course in City Planning and several PhD courses in related fields.

2.2.4.4. S UP P O R T AND T R AN S F E R S T AK E HO L D ER S (S E L EC T I O N )
Gründerzentrum Kulturwirtschaft
http://www.kulturunternehmen.info

The Gründerzentrum Kulturwirtschaft (Centre for Cultural Entrepreneurship) in

Aachen offers consultancy services for the support and facilitation of business start-
ups in the sector of the Cultural Industries. It cooperates closely with the
GründerRegionAachen (cp. below).
 28
GründerRegionAachen
http://www.gruenderregion.de

Gründerregion Aachen is an umbrella organization and bundles all start-up-support

activities in the region. It offers information and consulting services and provides
practical advice – for all industry sectors, company functions and tailored to the
different stages in the start-up process.

Technologieregion Aachen (+AGIT Wirtschaftsförderung)

http://www.technologieregion-aachen.de

AGIT is the regional development agency for the Technology Region Aachen.
It offers services and measures e.g. in the fields of:

• Start-Up support and business advice for technology-oriented start-ups and

innovative companies
• Support and advice for international investors
• Networking initiatives for regional companies
• Facilities, such as offices, laboratories and clean rooms for start-ups and
investors

REGINA e.V. – Regional Industry Club Computer Science

http://www.regina.rwth-aachen.de/

The Network encompasses more than 100 regional companies and research
institutions from the field of ICT. The Network is a forum for experience and
knowledge exchange, networking and cooperation. It is hosted by the RWTH and
supported by the regional development agency AGIT.
 29

2.3. B IRMINGHAM C ITY P ROFILE

2.3.1. I NTRODUCTION

City Profile Overview

Further Economic
Sectors
Advertising

Medical / Games Advanced

Healthcare Materials
Technology CULTURAL INDUSTRIES Birmingham
Social
Design & Media
Film / TV Performing Fashion
Arts

CORE ARTS FIELDS Consumer

Digital Products
Media Music
Transport Visual Arts
Technology Architecture
Arts &
Antiques
Software

Tourism
Financial CREATIVE INDUSTRIES AND
Services ACTIVITIES

ICT

Birmingham is a city and metropolitan borough in the West Midlands county of

England. With a population of app. 1,2 mio (2005) it is the most populous of
England’s core cities. It forms part of the larger West Midlands conurbation, which
has a population of app. 2,3 mio (2001) and encompasses several neighbouring
towns and cities, e.g. Solihull, Wolverhampton and the towns of the Black Country.
Each year it attracts increasing number of visitors and tourists and it is the fourth-
most visited city by foreign visitors in the UK.

Although the city has seen economic growth greater than the national average in the
21st century the benefits have been uneven, with commuters from the surrounding
area obtaining many of the more skilled jobs. The two parliamentary constituencies
with the highest unemployment rates in the UK are both in inner-city Birmingham.
The city’s black and minority ethnic communities are currently underrepresented in
some sectors, such as professional services, and in higher skilled jobs. The
proportion of Birmingham residents with higher education qualifications is below
the national average, whereas the proportion with no educational qualifications is
7
above the national average.

However, the general trend of Birmingham’s economy and employment is positive.

7 Strategic assessment report 2006, online source:

http://www.birmingham.gov.uk/Media/StrategicAssessment2006%20PDF.pdf?MED
IA_ID=232321&FILENAME=StrategicAssessment2006%20PDF.pdf
 30
The city’s political priorities focus particularly on environmental, economic and
8
health related strategies. Furthermore the City has prioritized “Science” as a key
economic driver. This is in line with Birmingham’s Science City status and builds on
the research expertise of Birmingham and Aston Universities (with Warwick also
contributing to this activity).

ECONOMY

The city's reputation was forged as a powerhouse of the Industrial Revolution in

England, a fact which led to Birmingham being known as "the workshop of the
world" or the "city of a thousand trades". Although Birmingham's grew to
prominence as a manufacturing and engineering centre, its economy today is
dominated by the service sector, which in 2003 accounted for 78% of the city’s
economic output and 97% of its economic growth.

Particularly the financial sector has led to this structural change, with two of Britain’s
“big four” banks founded in Birmingham (Lloyds, HSBC) and more than 100.000 jobs
in banking financing and insurance.

Despite the decline of manufacturing in the city several significant industrial plants
remain, including Jaguar Cars in Castle Bromwich and Cadbury Trebor Bassett.

INTERNATIONAL NETWORKS

Birmingham is a partner in the Lisbon Regions Network and EuroCities.

It also supports ERRIN network (Innovation and Research) through West Midlands in
Europe.

Birmingham has Twinning Arrangements with the following cities:

• Chicago, United States

• Frankfurt, Germany
• Guangzhou, China
• Johannesburg, South Africa
• Leipzig, Germany
• Nanjing, China
• Lyon, France
• Milan, Italy
• Mirpur, Pakistan - Friendship agreement

2.3.2. M AIN I NDUSTRIES – B USINESS S ECTORS

As mentioned above, the city has undergone a massive structural change from an
industrially dominated economy towards a service based economy. Birmingham has

8 Be Birmingham, online source: http://www.bebirmingham.org.uk

 31
the largest, fastest growing business and professional service sector in the UK
outside of London.

Today the region’s economy is mainly based on the following sectors:

Financial Services & Insurance

With more than 100.000 jobs and many major international and national players
having their headquarters in Birmingham, the financial and insurance sector is one of
the major drivers of the economy. However, regarding the current financial crisis,
this dominance is also the source of particular economic risks.

ICT

The West Midlands is home to a strong entrepreneurial cluster of ICT companies.

International businesses like Fujitsu, IBM and Cap Gemini are located in the area.
The ICT sector, currently growing at a rate of 20% per annum, is the recognised
centre of the UK software industry.

Medical Technology

The region has also become a focal point for specialist medical technology
companies. Over 16,000 employed across the region in this sector alone.

Transport Technology

Despite the structural change, over a third of all cars produced in the UK are made in
Birmingham or Coventry, with Land Rover Jaguar as a major employer.

Consumer products

The region is leading in the innovation/contemporary design led products industry. It

hosts a range of innovative companies in the field of Ceramics, Jewellery, Glass,
Leather Goods, Clothing, Furniture and Carpets. E.g. Birmingham’s Jewellery Quarter
has skilled goldsmiths and jewellery makers who manufacture 70% of all UK
jewellery. Walsall is home to the British Saddle with over 80 equestrian industry
companies based there. Stourbridge has a strong concentration of the region’s glass
companies. The clothing industry, based around the Black Country, Birmingham and
Coventry, consists of 600 companies and employs 11.000 people. 22.000 people are
working in app. 2000 furniture companies throughout the region.

Tourism

Tourism is an increasingly important part of the local economy. With major facilities
such as the International Convention Centre and National Exhibition Centre the
Birmingham area accounts for 42% of the UK conference and exhibition trade.

POLITICAL PRIORITIES

The Innovation and Technology Council has identified the following five themes as a
prime focus for regional innovation activity:
 32
• Energy
• Healthcare Technology
• Transportation Technology
• Advanced Materials
• Digital Media

2.3.3. R ESEARCH L ANDSCAPE

Birmingham is home to three universities and two university colleges:

University of Birmingham
http://www.bham.ac.uk/

Founded in 1900, Birmingham was England's first civic university, where students
from all religions and backgrounds were accepted on an equal basis. The University’s
student population includes 18,500 undergraduate and just over 8,000 postgraduate
students. On average, 20% of its undergraduates are recruited locally.

Aston University
http://www1.aston.ac.uk/

Founded in 1895 and a University since 1966, Aston is a long established research-
led University with strong links to industry, government and commerce. It has app.
10.000 students and offers a range of undergraduate and postgraduate degree
programmes. Aston University also works with the public and private sector to
develop tailored Continuing Professional Development and Foundation Degree
programmes. Its research focuses on:

• Health & wellbeing

• Organisational effectiveness
• Engineering solutions
• Language & society
• The learning experience

Birmingham City University

http://www.bcu.ac.uk/

BCU is a large, multi-cultural university with 23,000 students which offers practical
approach to teaching. Its study focuses on practical skills and professional relevance

Birmingham City University is made up of six faculties covering different broad areas
of study:
• Birmingham City Business School
• Birmingham Institute of Art and Design (cp. further information below)
• Faculty of Education, Law and Social Sciences
• Faculty of Health
• Faculty of Performance, Media and English
• Faculty of Technology, Innovation and Development
 33

Newman University College

http://www.newman.ac.uk/

Newman's mission is centred on the Catholic values of tolerance and inclusion. As a

Catholic University College, Newman welcomes staff and students of all religions and
backgrounds. It offers undergraduate and graduate courses and its research is
organized in the following groups:

• Centre for Citizenship Education

• Community and Professional Development
• Creative Arts (cp. more information below)
• Education and Professional Studies
• English History
• Psychology
• Sports Studies

University College Birmingham

http://www.ucb.ac.uk/

The College offers a variety of undergraduate programmes, graduate degrees and

technical and vocational training to app. 7000 students.

Sutton Coldfield College

http://www.sutcol.ac.uk/

Sutton Coldfield results from a merger between North Birmingham College in 2003
and Josiah Mason College in 2006 to form one of the largest further education
colleges in the country.

2.3.4. ECCE C REAT IVE S ECTOR P ROFILE

2.3.4.1. D E FI N I T I O N C R E AT I V E I N DU ST R I ES
The CI definition follows the DCMS version at the City level represented regionally by
Screen Image and Sound and Lifestyles and Interiors Clusters at the Region (AWM).

2.3.4.2. M AI N C R E AT I V E I N D U ST R Y S EC T O R S
Birmingham has app. 3500 creative companies, 89% of which are SMEs with 1 – 10
employees. The CI sector employs 28,195 people which comprises 5.7% of
employment in the total economy.

The emerging sectors are software, music, games and social media applications.

Further relevant sectors:

Architecture
 34
There are app. 6500 people working in 800 architecture companies. This sector is
therefore one of the strongest with regards to employment.

Arts & Antiques

With 1200 companies this sector provides most of the creative businesses. However,
this is also due to their relatively small size. About 6700 people are working in the
field. The region is a national centre of design jewellery.

Further sectors, such as

• Music, Film and Performing Art

• Video, Film, Photography
• Advertising
• Radio/TV and
• Design & Fashion
9
are providing app. 6000 jobs.

There are also collaborations between the city and e.g. IKON Gallery Eastside
(http://www.ikon-gallery.co.uk/) and VIVID (www.vivid.org.uk/) to present the visual
arts in the city.

2.3.4.4. R E S EA R C H & E DU C AT I O N E N V I R O N M EN T

Birmingham University: Serious Games

http://www.iecs.bham.ac.uk/hit/sg_research.htm

The Human Interface Technologies Team of Birmingham University is working closely

with professionals such as doctors, marine biologists and even the Ministry of
Defence with the aim of deveping and implementing games as a learning and
training tool.

Birmingham City University: Birmingham Institute of Art and Design (BIAD)

http://www.biad.uce.ac.uk

BIAD is the largest centre for art, design and media education outside London. The
history of the faculty dates back to 1843, when the Birmingham School of Design
was founded. The faculty is now located on five campuses across the city.

It offers undergraduate programmes and postgraduate degrees in the areas of:

• Art
• Visual Communication
• Fashion, Textiles & 3D Design
• Architecture

9 Source: University of Birmingham, Centre for Urban and Regional Studies (CURS)
April 2007
 35
• Jewellery
Also, BIAD provides business support, training and consultancy to designer-makers
in the city. The University has many strategic links to development organisations
seeking to support the designer-maker as a key element in the renaissance of
Birmingham. It is keen to make new links to help both students and its fashion-based
companies.

The Birmingham School of Media

http://www.mediacourses.com/

With a focus on innovation, creativity and enterprise, The Birmingham School of

Media offers a wide range of courses, from undergraduate and postgraduate
programmes to professional and short courses geared towards the media industry.

Faculty of Technology Innovation and Development (TID)

http://www.tic.ac.uk/

The TID is a faculty of Birmingham City University and a national centre of excellence
for learning, innovation and technology transfer.

The University supports individuals, organisations and communities in developing

their understanding and capabilities within a rapidly developing technology-based
society, providing cutting-edge resources and specialised knowledge to meet the
demands of the 21st Century.

Birmingham School of Acting

http://www.bsa.bcu.ac.uk/

Birmingham School of Acting is a small specialist institution offering full-time higher

education courses at undergraduate and postgraduate level and part-time and
summer school courses for adults, young people and children. Birmingham School of
Acting is a faculty of Birmingham City University.

Birmingham Conservatoire
http://www.conservatoire.bcu.ac.uk/

Birmingham Conservatoire is an international conservatoire. Prior to 1989, it was

known as the Birmingham School of Music. It is one of the faculties of Birmingham
City University and the only one out of the nine conservatoires in the United
Kingdom that is a university faculty. Birmingham Conservatoire is also a major
concert venue, its main platform being the Adrian Boult Hall. Apart from courses in
solo performance composition, chamber music, orchestral playing and jazz, it also
provides a degree course in Music Technology, in cooperation with the Technology
Innovation Centre. Research at the Conservatoire is focused on the study of music in
 36
performance and it has a dedicated centre for research into Composition and
Performance Using Technology.

Newman College: Creative Arts Research Group

http://www.newman.ac.uk/CreativeArts/

The Creative Arts subject area was established in 2007 to bring together the
expertise and research interests of staff in Art and Design, Drama, Media and Music.
Students studying in these subject areas are invited to take modules which combine
the art forms and methods of analysis, including Arts and Media and British Culture,
Film Studies, Postmodern Culture and work placement modules in Creative Arts
contexts.

Digital Centre of Matthew Boulton College and Sutton College

Having opened in January 2008, the college is helping to ensure Birmingham and its
residents stay one step ahead of the digital agenda. The centre provides an insight
into the future of digital home entertainment, providing information
demonstrations to keep people up to speed with the changes in store. The new
facility includes a signal distribution centre, a facility to train digital aerial installers,
allowing to design and test systems which can deliver digital signals and information
to all parts of the home. The digital home experience centre allows people to have a
glimpse at what home entertainment will offer when the switchover is complete in
2011.

2.3.4.5. S UP P O R T AND T R AN S F E R S T AK E HO L D ER S (S E L EC T I O N )

CLUSTERS & NETWORKS

iCentrum
http://www.icentrum.co.uk

iCentrum provides members with access to the latest developments in new and
emerging ICT related technologies.

OpenAdvantage
http://www.openadvantage.org

The OpenAdvantage project provides the West Midlands Region with a centre of
excellence focused entirely on open source software, the only one of its kind within
the UK.
 37
WMita
http://www.ukita.co.uk/birmingham/about.htm

WMita is a membership organisation with local branches representing small and

medium-sized businesses in the ICT sector.

West Midlands Mobile and Wireless

http://www.wmmw.org/

WMMW provides innovation, new product development and adoption support for
companies involved in mobile and wireless technologies.

Advantage West Midlands

http://www.advantagewm.co.uk.

TRANSFER & SUPPORT

Digital Birmingham
http://www.digitalbirmingham.co.uk

Digital Birmingham is a city-wide partnership designed to encourage people,

business and communities to gain the benefits of digital technologies such as the
computer, internet, mobile phone and digital TV - to name but a few.

Its objective is to promote Birmingham’s transition from an industrial city to a digital

city by driving forward the use of these technologies in order to increase prosperity,
knowledge and quality of life of its citizens.

Initially set up by Birmingham City Council and BT it now has many leading national
and regional partners on board including the BBC, Birmingham Post & Mail,
Birmingham Chamber of Commerce and Industry and many more. It is also a partner
in the ECCE consortium.

Contact KE
http://www.contactke.co.uk

ContactKE is a Technology and Knowledge Transfer organisation for cooperation

between businesses and universities and further research organisations. The
objectives of this initiative are to stimulate and articulate intelligent demand from
business and to respond to identified business needs.

Designs into Business (ContactKE Initative)

http://www.designsintobusiness.co.uk

The aim of this initiative is to promote the strengths of the HE design capability both
internally, to their academic community, and externally to the wider business
 38
community. The innovative actions project seeks to accomplish these tasks through
a coordinated action plan based on current business and community engagement
within the theme group.

BT Tradespace
http://www.bttradespace.com

BT Tradespace offers businesses an easy route into social media, providing them
with a platform to write a blog, add pictures and video, build communities and even
start online trading. It encourages businesses to use the potential of social media
and network services, such as LinkedIn or Twitter.

Creative Networks & Workspaces (ContactKE initiative)

http://www.contactke.co.uk/CreativeNetworks.aspx

This project aims to identify a potential collaborative network framework fort he HE

Sector in the West Midlands and the digital creative industries. It will collate
available workspace within the HE establishments in the West Midlands to facilitate
this.

Creative Insight
http://www.birmingham.gov.uk/GenerateContent?CONTENT_ITEM_ID=81282&CON
TENT_ITEM_TYPE=0&MENU_ID=14355&EXPAND=10273

The aim of this initiative is to create a flourishing and dynamic economic and cultural
environment by strengthening business practices, creative networking and providing
opportunities for individuals and businesses to share experiences. It offers advice,
training and information services to help connect business expertise with creative
talent, e.g. in the following fields:

• Professional advice for start-ups

• Grants and marketing information
• Support in business plan development
• Advice fact sheets on every aspect of running a business.

Design Hub (Coventry)

http://www.coventry.ac.uk/cutp/d/132

Located at the Coventry University Techno Centre, the Design Hub provides
companies across the West Midlands with access to state-of-the-art design
equipment and skills. Opened in May 2007, a key focus of the facility is to provide a
centre where companies, design experts and graduates can collaborate together and
share their skills with the aim of making design a key part of the development
process.
 39

2.4. C ARDIFF C ITY P ROFILE

2.4.1. I NTRODUCTION
Overview

Further Economic
Sectors
Advertising

Bioscience & Games

Pharmaceuticals

CULTURAL INDUSTRIES Cardiff

Music Audiovisual
Design
Literature Industries Leisure/
CORE ARTS FIELDS Events/
Digital Tourism
Media Performing
Heritage Arts
Games

Interactive
Media

Financial Services CREATIVE INDUSTRIES AND ICT

ACTIVITIES

Cardiff is the capital, largest city and most populous local authority of Wales in the
United Kingdom. Following a period of decline during the 1970s and 1980s, Cardiff's
population is growing. About 320.000 inhabitants are now living within the city area
and a total of 1.4 million persons are living within a 45 minutes drive time from the
city, including most of the Cardiff city region of South East Wales. The ethnic make-
up of Cardiff's population at the time of the 2001 census was: 91.6% white, 2%
mixed race, 4% South Asian, 1.3% Black, 1.2% other ethnic origin. According to a
report published in 2005, over 30,000 people from an ethnic minority live in Cardiff,
around 8.4% of the city's total population.

Like all progressive cities Cardiff is marked by an ongoing debate about the scope for
improvement. In 2007 it was decided, that resources would be focused on achieving
greater connectivity, attaining higher skills and qualifications, attracting quality
employment and facilitating the inception and growth of businesses. Cardiff's key
political objectives haven been developed around the "drivers of urban
competitiveness" as identified by the European Institute of Urban Affairs. They form
10
part of the city’s economic strategy and include the following strategic leitmotifs:

• An International Capital City

• A Business City
• An Innovative City
• A Skilled City
• An Enterprising & Inclusive City

10 Competitive Capital – Cardiff’s Economic Strategy 2007 – 2012

 40
• An Accessible City
• A Sustainable City

ECONOMY

As the capital city of Wales, Cardiff is the main engine of growth in the Welsh
economy. The economy of Cardiff and adjacent areas makes up nearly 20% of Welsh
GDP and 40% of the city’s workforce are daily in-commuters from the surrounding
south east Wales area. Between the end of 2005 and the end of 2006, Cardiff
experienced an increase of 170 VAT registered businesses – a 2.2% increase. Cardiff
had 9.5% of all the VAT registered business in Wales at the end of 2006. With 12.98
million visitors in 2008, Cardiff is a significant tourist centre and the most popular
visitor destination in Wales.

Although industry has played a major part in Cardiff's development for many
11
centuries , today it is the principal finance and business services centre in Wales. As
such there is a strong representation of finance and business services in the local
economy and Cardiff has a far greater proportion of VAT registered businesses in
finance and real estate & business services than the Welsh average, and a
significantly greater proportion of VAT registered businesses in finance and real
estate & business services than the UK average. This sector, combined with the
Public Administration, Education and Health sectors, have accounted for around 75%
of Cardiff's economic growth since 1991. This is also a reason why the current
financial crisis is a particular threat for the economy of this region.

Cardiff is granted Fairtrade City status, which indicates it to be an area which is

committed to the promotion of Fairtrade certified goods.

INTERNATIONAL NETWORKS

City networks provide Cardiff with an important means of engaging with the
European and International policy agenda and to have its voice heard on European
and global issues. Cardiff Council is currently a member of the Cities of the Isles, the
Commonwealth Local Government Forum and the Conference of the Atlantic Arc
Cities (CAAC).

Cities of the Isles (COTI)

www.coti.org.uk

The COTI network is a partnership of six UK and Irish City Councils: Belfast, Cardiff,
Dublin, Edinburgh,, Glasgow and Liverpool. The Partnership was created in 2000
following the expansion of the Irish Sea Partner’s Conferences. All six cities face

11 At its peak, Cardiff's port area, known as Tiger Bay, became the busiest port in the
world and—for some time—the world's most important coal port.
 41
similar regeneration challenges and the network exists to facilitate the exchange of
information and experience on mutual policy issues, programmes and legislation.

Commonwealth Local Government Forum (CLGF)

www.clgf.org.uk

The CLGF was founded in 1995 as a focus for action on local democracy in the
Commonwealth. It works to promote and strengthen democratic local government,
encourage the exchange of best practice, and ensure that the voice of local
government is heard. Since 2006, Cardiff Council has received funding from the CLGF
‘Good Practice Scheme’ to work on a number of development projects with Cochin
in South West India. Cardiff will also be the host city of the Commonwealth Local
Government Conference in March 2011.

Conference of Atlantic Arc Cities (CAAC)

www.arcat.org

The Conference of Atlantic Arc Cities, a network which brings together 30 medium-
sized European cities and urban networks from the western peripheries of Europe.
These cities, whilst retaining their own priorities and identities, have a common
interest in the development strategy for the European Community. One of the
network’s main objectives is to ‘encourage…partnerships between member cities in
order to contribute to the emergence of an area of solidarity and the development
of cooperation projects’.

Twinning links

Cardiff has longstanding twinning arrangements with two ECCE partner cities Nantes
(since 1964) and Stuttgart (since 1955), as well as with:

• Luhansk, Ukraine (since 1958)

• Hordaland county, Norway (since 1996)
• Xiamen, Fujian Province, China (since 1983)

2.4.2. M AIN INDUSTRIES

Financial & Business Services

Finance, Insurance & Business Services employment in Cardiff stood at around

50,000 in 2007, a quarter of the city’s workforce. Companies such as Legal &
General, Admiral Insurance, HBOS, Zurich, ING Direct, The AA, Principality Building
Society, 118118, British Gas, Brains, SWALEC Energy and BT, all operate large
national or regional headquarters and contact centres in the city. However, today
this sector is particularly vulnerable towards the effect of the global financial crisis.
 42
Bioscience & Pharmaceuticals

Wales has a strong bioscience industry with over 250 companies employing over
15,000 workers, supported by collaborations between universities and businesses.
The sector is also supported by the Technium business network
(http://www.technium.co.uk/) which nurtures young technology companies and
provides support to assist in their development. The bioscience cluster in Wales is
built around links between Cardiff University and the private sector companies in the
locality. Pharmaceuticals is also recognised as having a strong potential for rapid
economic growth, with Cardiff currently accounting for around one-third of
pharmaceuticals jobs in Wales.

Creative Industries

Creative industries, including activities such as film, TV, new media, printing and
publishing, are becoming increasingly important within the Cardiff, Welsh and UK
economies. Cardiff is the key driver of the creative economy in Wales, with over
12
13,000 people employed in the sector in 2007. The city accounts for around half of
all Welsh creative jobs.

Technology

Cardiff has experienced significant investment in Information and Communications

Technology (ICT) infrastructure in recent years, with the city and wider region being
well served by modern communications. Many industries covered by this sector
have moved from high volume production to specialist, lower volume, high value-
added production. Such research and development (R&D) activity is anticipated to
be the strongest driver of economic growth in the sector. Communications and
Computing Services are expected to grow by 3.75% and 3% respectively between
2006-2016 and, furthermore this is the type of sector that is likely to attract other
high technology firms to the area leading to agglomeration benefits.

Leisure and Tourism

With 11.7 million visitors in 2006, Cardiff is a significant tourist centre and the most
popular visitor destination in Wales. With around 18,200 workers employed in

12 Sector definition comprising the following SIC Codes: 1771 : Manufacture of knitted
and crocheted hosiery; 1772 : Manufacture of knitted and crocheted pullovers,
cardigans and similar articles; 1810 : Manufacture of leather clothes; 1821 :
Manufacture of workwear; 1822 : Manufacture of other outerwear; 1823 : Manufacture
of underwear; 1824 : Manufacture of other wearing apparel and accessories not
elsewhere classified; 1830 : Dressing and dyeing of fur; manufacture of articles of fur;
1930 : Manufacture of footwear; 2211 : Publishing of books; 2212 : Publishing of
newspapers; 2213 : Publishing of journals and periodicals; 2214 : Publishing of sound
recordings; 2215 : Other publishing; 2231 : Reproduction of sound recording; 2232 :
Reproduction of video recording; 2233 : Reproduction of computer media; 7221 :
Publishing of software; 7222 : Other software consultancy and supply; 7420 :
Architectural and engineering activities and related technical consultancy; 7440 :
Advertising; 7481 : Photographic activities; 7487 : Other business activities not
elsewhere classified; 9211 : Motion picture and video production; 9212 : Motion
picture and video distribution; 9213 : Motion picture projection; 9220 : Radio and
television activities; 9231 : Artistic and literary creation and interpretation; 9232 :
Operation of arts facilities; 9234 : Other entertainment activities not elsewhere
classified; 9240 : News agency activities; 9272 : Other recreational activities not
elsewhere classified
 43
leisure and tourism industries, the sector accounted for around 9.5% of total
employment in the city in 2004. Employment in this sector increased by 15.3%
between 2000 and 2004 – higher than the British average but lower than the rate
experienced in many of the UK Core Cities.

2.4.3. R ESEARCH L ANDSCAPE (+ STAKEHOLDERS )

Cardiff is home to numerous Universities, Higher Education Institutions and
specialized research institutes. A selection of the most important institutions is listed
below.

Cardiff University
http://www.cardiff.ac.uk

Cardiff University is recognised in independent government assessments as one of

Britain's leading teaching and research universities. Research and teaching areas
encompass: the humanities; the natural, physical, health, life and social sciences;
engineering and technology; preparation for a wide range of professions; and a
longstanding commitment to lifelong learning. It has about 20.000 undergraduate
and 6.000 graduate students, accompanied by 6000 staff members. The University is
also the largest provider of adult education in Wales, with the Cardiff Centre for
Lifelong Learning and is a member of the Russell Group of Britain's leading research
universities.

University of Wales Institute, Cardiff

http://www3.uwic.ac.uk

UWIC is made up of five academic schools, the Cardiff School of Art & Design (cp.
below); the Cardiff School of Health Sciences - with the soon to be opened
£4.3million research centre; the Cardiff School of Education - one of the leading
providers of teacher training in the UK; the Cardiff School of Management; and the
Cardiff School of Sport. UWIC specialises in courses that are career orientated and
which have been designed in conjunction with business and industry. UWIC has over
10,000 students with a high percentage of postgraduate students.

Specialised research centres include (selection):

• Design Engineering Research Centre

• Manufacturing Engineering Centre

University of Glamorgan
http://www.glam.ac.uk/

The University of Glamorgan has over nine decades of outstanding teaching and
learning and holds 12 teaching excellence awards in key subject areas awarded by
the Higher Education Funding Council for Wales (HEFCW).
 44
Recognised by The Guardian League tables as the top new university in Wales for the
last three years, the University has three campuses located across the Cardiff city
region offering a range of teaching and research programmes from Faculties
including: Creative & Cultural Industries, Health, Sport and Science; Advanced
Technology , Glamorgan Business School and Humanities and Social Sciences. It has
more than 20.000 students.

Award winning research centres include:

• Centre for Research and Enterprise in the Creative Industries (WCRECI)

• Welsh Enterprise Institute (WEI)
• Centre for Engineering, Research and Environmental Applications (CEREA)
• Centre for Electronic Product Engineering (CEPE)
• Sustainable Environment Research Centre (SERC)
• Renewable Hydrogen Research and Demonstration Centre

2.4.4. ECCE C REAT IVE S ECTOR P ROFILE

2.4.4.1 D EFI N I T I O N C R E AT I V E I N DU ST R I ES
There are a variety of CI definitions, circulating in diverse political documents. The
city’s creative strategy focuses e.g. on “those industries which have their origin in
individual creativity, skill and talent and which have a potential for wealth and job
13
creation through the generation and exploitation of intellectual property” . It thus
follows the “copyright” approach for defining CI, - developed by DCMS - which
assumes that CI encompasses those industries which produce services and products
whose value is mainly defined in terms of copyright. The “Creative Strategy” further
defines: “This includes advertising, architecture, the art and antiques market, crafts,
design, designer fashion, film and video, interactive leisure software, music, the
performing arts, publishing, software and computer services, television and radio.”

2.4.4.2. B U SI N ES S L A N D SC AP E
The creative industries are a significant part of the Welsh economy. The Welsh
Assembly Government has recognised the sector as a priority and has developed a
number of strategies in relation to the creative industries. These include the Culture
Strategy for Wales and a Creative Industries Strategy – both of which identify the
creative industries sector as a key economic resource for Wales..

Around a third (33%) of all Welsh creative industry jobs are based in Cardiff due to
presence of major media organisations, such as the BBC and HTV. Cardiff is favoured
as a business location by companies in the sector for various reasons, including
available labour pool, proximity to clients and the vibrant image of the city.
According to a study by Demos (2003) – based on Richard Florida’s concept of
th
creativity –, Cardiff is ranked 9 on the list of the UK’s 10 most creative cities. Cardiff

13 Creative Future – A Culture strategy for Wales (2006); Creative Success: Strategy for
Creative Industries in Wales (2004)
 45
also was a finalist in the European Capital of Culture 2008 competition but the title
finally went to the city of Liverpool.

Between 1991 and 2003 there has been significant growth in employment levels in
the creative industries in Cardiff, with employment growth of 50.1%, up from 4,400
to 6,600. This highlights the increasing importance and contribution of the creative
industries sector to Cardiff’s economy. This growth was considerably higher than
that experienced across Wales (40.3%), although slightly below the growth
experienced across Great Britain as a whole (54.9%) over the same period. Creative
14
industries are now accounting for 3.7% of total employment in the city in 2003 ,
reflecting the significance of creative industries to the city’s economy.

2.4.4.3. C R E AT I V E S E C T O R S
Research by Skillset Cymru (2002) indicated that the audio visual industry – defined
as TV, film, radio and new media – is the most significant of the creative industries
in Wales, in terms of economic performance and wealth generation, followed by
music & visual & performing arts and publishing. Further sectors, which are regarded
as growth sectors are craft and design. The following highlights characteristics and
relevance of a selection of creative sectors:

Audiovisual industries

The creative sector of the city is dominated by traditional media and film
businesses. With the exception of London, Cardiff has the highest relative
concentration of audiovisual media businesses and employment in the UK. With BBC
Wales, S4C and ITV Wales all having studios in the city, Cardiff is home to the Welsh
media and the UK's largest film, TV & multimedia sector outside London. In
15
particular, there is a large independent TV production industry sector. From 2003
to 2007 the sub-sector has seen an increase in job numbers from 4,000 to 4,500, and
16
in 2007 accounted for just over half (51%) of the city’s creative jobs.

New Media, Games and Software

Interactive media is also one of the largest sectors employing over 2,400 people –
nearly all of which work in offline media or web/internet. Animation is a particular
strength in Cardiff with the three leading Welsh animation studios clustered around
the Cardiff Bay area. Cardiff also has a growing computer gaming and software
industry although this has not yet developed a particular hub in the area

Design

Wales has a creative and diverse design industry. The Cardiff Design Festival
(http://www.cardiffdesignfestival.org) offers an insight into the regional design
scene. It is convened and facilitated by Cardiff School of Art & Design at the

14 Annual Business Inquiry (2003)

15 The Film, TV and Multimedia Sector in Cardiff (2003)
16 Cardiff’s Creative Industries (2009) Draft Report by BOP Consulting ERDF co-
financed through the ECCE Innovation project
 46
University of Wales Institute, Cardiff (UWIC) in collaboration with partners from the
creative industries and other public bodies and private businesses.

However, links between design and traditional industries – central to delivering

added value and economic impact – are missing. The public sector is still the most
important “buyer” of Welsh Design. This is why the “Creative Future” Strategy of the
Welsh Assembly regards design as a priority area for development. It therefore
focuses specifically on improving design education and design transfer activities.

2.4.4.4. R E S EA R C H & E DU C AT I O N E N V I R O N M EN T

Cardiff University
http://www.cardiff.ac.uk

Cardiff University, founded by Royal Charter in 1883, is the leading research-led

university in Wales. The university combines impressive modern facilities in the civic
centre and the breath of expertise in research and research-led teaching
encompasses: the humanities; the natural, physical, health, life and social sciences;
engineering and technology.

The University has over 30 award-winning research centres including the:

• Cardiff Humanities Research Institute

• Cardiff Work Environment Research Centre
• Centre for Global Labour Research
• Centre for Advanced Software and Intelligent Systems (CASIS)
• Medical Engineering and Medical Physics (Institute for)
• Cardiff University Innovative Manufacturing Research Centre
• Centre for Business Relationships Accountability, Sustainability & Society
• Wales Gene Park Genomic Facility

University of Glamorgan’s Cardiff School of Creative and Cultural Industries

http://cci.glam.ac.uk/

The University invested £35 million in the creation of the new Cardiff city centre
campus dedicated to the creative industries. This is by far, the largest single
investment in the creative industries education and research in Wales and is the first
of its kind in Wales and the UK. Its courses focus on turning the creative arts towards
the new economy and business applications. Following an interdisciplinary
approach, courses are designed to match enduring and emerging industry trends
and needs – whether creating content for interactive media and the burgeoning
digital television business, applying interior design skills on set in the film industry or
gaining a theoretical understanding of how the mass media influence societies and
cultures.
 47
University of Wales Institute Cardiff (UWIC) School of Art & Design
http://www.csad.uwic.ac.uk

Cardiff School of Art & Design aims to be a visible force in the arts and creative
industries. The majority of staff is practicing artists and designers working at the
leading edge of our disciplines and many have extensive experience of working in
industry. There are many specialist workshops and studios including those for
painting, sculpture, ceramics, print, textiles, graphics, architecture, and product
design.

Royal Welsh College of Music and Drama

http://www.rwcmd.ac.uk

The Royal Welsh College of Music & Drama is the National Conservatoire of Wales,
providing specialist practical and performance-based training that enables students
to enter and influence the music, theatre and related professions. Its focus lies on
„traditional“ forms of culture, such as theatre/performing arts, music and related
services, e.g. stage or arts management.

2.4.4.5. S UP P O R T AND T R AN S F E R S T AK E HO L D ER S (S E L EC T I O N )
The importance of the Creative Industries sector to the economy of Wales has been
increasingly acknowledged by strategic agencies, including the Welsh Assembly
Government (WAG) and the former WDA. Consequently there has been an increase
in the provision of significant support for initiatives aimed at enhancing and
developing the growth of the sector. Current bodies supporting specialist creative
industries in Wales and Cardiff include:

Sgrin Cymru Wales/ The Wales Screen Commission

http://www.walesscreencommission.co.uk

The Wales Screen Commission is the location service for Wales offering
comprehensive information and support on locations, facilities, crew and local
services throughout Wales. Since inception in 2002, the Wales Screen Commission
has delivered £100 million in location spend on projects it has assisted.

Welsh Music Foundation

http://www.welshmusicfoundation.com

The Welsh Music Foundation is the first port of call for individuals, Small Businesses
and Start-Ups who need information on the music industry in Wales. It offers
information and training services and represents the Welsh music industry’s
interests to music industry bodies, as well as policy makers in Cardiff Bay,
Westminster and beyond.
 48
Skillset Cymru
http://www.skillset.org/uk/cymru/

The Sector Skills Council for creative media which comprises TV, Film, Radio,
Interactive media, Animation, Computer Games, Facilities, photo imaging, other
content creation and publishing. Their aim is to support the improvement to
productivity and to ensure that the sectors remain globally competitive. Skillset
Cymru as part of the national agency Skillset conducts consultation work with
industry, publish research and strategic documents, run funding schemes for training
and provide training information.

Creative & Cultural Skills Wales

http://www.ccskills.org.uk/Nationsregions/WalesCymru/tabid/92/Default.aspx

Creative & Cultural Skills is the Sector Skills Council for Advertising, Crafts, Cultural
Heritage, Design, Music, Performing, Literary and Visual Arts. Founded in May 2004,
Creative & Cultural Skills was granted its licence to operate by the Sector Skills
Development Agency on 1st June 2005. The Board of Directors is made up of high
profile representatives from the creative and cultural industries, and the
representative for Wales is Judith Isherwood, CEO of the Wales Millennium Centre.

Film Agency Wales

http://www.filmagencywales.com/

Established in July 2006 as a strategic agency, the Film Agency aims to facilitate the
emergence of a viable and sustainable Welsh film industry and to promote a vibrant
and dynamic film culture. The sole agency for film in Wales, it has a remit to ensure
that the economic, cultural and educational aspects of film are effectively
represented in Wales, the UK and globally. The agency offers development finance,
advice and information, with finance focusing on feature films, including feature-
documentaries that have cinema release aspirations, in addition to feature-length
made for television film.

BBC Wales
http://www.bbc.co.uk/wales/

The main Broadcaster and commissioner in Wales, has recently achieved success in
attracting network commissions to Wales including Dr Who and Torchwood and
Merlin. The Broadcaster is keen to capitalise on the BBC Trust decision to ensure
that regional network content of 17%, it is currently 3%, is delivered by 2017 on
multi-platform outlets.

S4C
http://www.s4c.co.uk/

S4C is responsible for commissioning independent production and the BBC provides
10 hours of content programming with ITV Wales also making a contribution. In
 49
2009 the Government switches off the analogue signal in Wales, and S4C will
become a wholly Welsh-language service. English language Channel 4 programmes
will no longer be broadcast on S4C, as that channel will be freely available in Wales.

Arts Council of Wales

http://www.artswales.org.uk/

The Arts Council of Wales is responsible for funding and developing the arts in Wales
and supports a range of partners, by investing in the creative and cultural industries
sector by investing in organisations, and by developing and supporting their
individuals. Contributing towards the regeneration of communities by investing in
infrastructure as part of its capital development programme, and arts projects and
activities through the annual investment programmes. Through the European
Funding Strategy, the Arts Council of England are working with the Welsh Assembly
Government and local authorities and Creative & Cultural Skills to develop workforce
training, and business support services for those working in the creative and cultural
industries.

@Wales Digital Media Initiative

http://www.atwales.com/

The @Wales Digital Media Initiative is a specialist business incubator. It is located in

Cardiff Bay, Wales’ largest digital and media cluster and provides specialised
business development support for innovative, high growth early stage businesses.

Chapter Arts Centre

http://www.chapter.org/

The centre accommodates 60 creative businesses and workspaces – including

theatre companies, film companies, visual artists and arts agencies, although many
more businesses consider the centre to be a focus for their business. The centre
provides an important focus for networking and trading between those businesses
located within the centre and businesses located outside the centre and assists in
further stimulating business activity in the local sector by providing a range of
production and support facilities. Chapter’s theatres, cinemas and gallery also
provide an important community resource.

Bloc – Creative Technology Wales

http://www.bloc.org.uk

bloc represents the interests of everyone engaged creatively with new technology. It
aims to position Wales’ creative technology sector at the forefront of international
developments in the field. bloc operates on three key levels:
 50
• as a source of information, professional development, research and advocacy
services
• as a facilitator for exchange and partnership between business and industry,
science and technology, education and creative practice within Wales
• as a commissioning body, developing production and presentation
opportunities in collaboration with a range of partner organisations through
projects, festivals and residencies

Creative Business Wales

http://www.business-support-wales.gov.uk/sector/creative.aspx

Creative Business Wales is an initiative by the Welsh Assembly Government. Via a

range of support and finance programmes it promotes Welsh creative businesses
that can make a significant contribution to the economy, particularly through
the use of intellectual property.

Cyfle
http://www.cyfle.co.uk/

Cyfle is the Training Company for the Welsh Television, Film and Interactive Media
Industry. The organisation was originally formed in order to train Welsh-speaking
technicians for the television industry which formed as a result of the creation of
S4C. The training schemes are varied and cover a wide spectrum of activity from the
Summer Schools for the younger generation to Newcomer Schemes and courses for
the professional seeking to update and acquire new skills.

Wales Creative IP Fund

http://www.financewales.co.uk/what_we_do/how_we_invest/creative_projects.asp
x

The Wales Creative IP Fund is transforming film, TV, new media and music
production in Wales. Finance Wales manages the £8 million IP Fund on behalf of the
Welsh Assembly Government. The IP Fund acts as a gap financier, working alongside
finance you have already secured from other funding providers.

Design Directory
http://www.designdirectorywales.org/

The Design Directory is an initiative by Designwales. It provides free and efficient

access to details about the design expertise available in Wales. For each design
business the directory includes full contact information, details of their design
expertise and an optional portfolio of recent work.
 51

2.7. D ONCASTER C ITY P ROFILE

2.7.1. I NTRODUCTION
Overview

Further Economic
Sectors
Hospitality,
Doncaster
Leisure and
tourism Construction

CULTURAL INDUSTRIES

Performing
Arts
Animation
Simulation CORE ARTS FIELDS and
Games
Fine Arts

Music
Manufacturing

Business,
CREATIVE INDUSTRIES AND Financial &
ACTIVITIES Professional
Services

Education

Doncaster is a large town in South Yorkshire, England, and the principal settlement
of the Metropolitan Borough of Doncaster with surrounding principal towns
contained with the Borough. It has a population of approx 291,100 inhabitants (April
2009), which encompasses approx 22,000 students. Doncaster is the largest
metropolitan borough in England. It is a borough who has a rapidly transforming
economy and is recognised as a key driver in the economy of the sub region.
Doncaster has a growing logistic base and the continued success of the Robin Hood
Doncaster Sheffield Airport are fundamental to this development. Hundreds of
million of pounds worth of new investment has been brought into the borough over
the last few years and the delivery of major transformational projects demonstrates
the progress Doncaster is making.

Despite this impressive progress, Doncaster still has a significant output gap with the
UK average and is also behind many urban areas in Europe which are of a similar size
and have a similar industrial heritage. Challenges facing Doncaster include:
developing a highly qualified workforce; developing a diverse, knowledge intensive
and innovative industry base; maximising the excellent connectivity with other
towns and cities. A range of factors contribute to this gap, notably: lower level of
capital investment per employee; low levels of innovation; the poorer skills base
within the economy. Doncaster needs to attract higher-value added businesses/
business functions to the district and suport indegenous businesses to increase
value added. Success in this area would lead to a more vibrant economy and
 52
increased employment opportunities, securing further output benefits through
reductions in worklessness.

Doncaster suffers from pockets of severe deprivation – areas with a high incidence
of poor housing, high levels of worklessness, and low levels of qualifications in the
resident populations. Doncaster’s unemployment rate is higher than the national
average and the capita income below the national average. Other challenges facing
Doncaster’s residents are the low aspirations of the borough’s young people and a
lack of understanding of local employment opportunities. In addition there is a
limited offer of higher education therefore leading to a lower skilled workforce and a
high commuter outflow.

In recent years Doncaster has experienced economic growth; however the global
financial situation has resulted in negative growth of the economy. However more
recently there have been indicators that the economic decline may be slowing.

POLITICAL PRIORITIES & TRENDS

Doncaster’s political priorities form the basis of Doncaster’s 2025 city status vision:
“By 2025 Doncaster will be a city of international significance able to attract and
retain a growing population with world-class skills in the creative and technological
industries that drive the regional economy. In achieving this, priorities include
st
stimulating technology and innovation, promoting a 21 Century skilled workforce
whilst tackling worklessness and encouraging inward investment.

ECONOMY

Doncaster’s reputation was forged as an industrial centre as a result of the town’s

coal industry combined with its communication links, particularly its waterways and
more recently the improvements of the East Coast Mainland and the new
international airport, Robin Hood Sheffield Airport. The town’s entrepreneurial spirit
means that despite the collapse of the coal industry, the manufacturing sector still
remains the largest in the town which accounts for a majority of the town’s
productivity output.

In the 80’s Doncaster saw the collapse of the mining industry and the impact of the
global financial situation. Doncaster still has several significant manufacturing
industries remaining in the Borough, including Polypipe, Prosper De Mulder and
Keepmoat.
 53
INTERNATIONAL NETWORKS

Doncaster has town twinning agreements with the following cities:

• Gliwice (Poland)
• Avion (France)
• Dandong (China)
• Herten (Germany)
• Wilmington (USA)

2.7.2. M AIN B USINESS SECTORS & STAKEHOLDERS

As discussed, Doncaster has adapted and re-invented itself since the collapse of the
mining industry, continuing with its manufacturing roots the town has also
developed itself in other sectors and continues to do so.

In addition to manufacturing, the region accommodates the following sectors:

Business, Financial & Professional Services

Utilising its excellent connections to the financial capital of London, less than 2 hours
by train and the newly developed international airport the region has witnessed an
increase in this sector with businesses taking advantage of the affordable quality
office premises and excellent communication links, locally, nationally and
internationally.

Construction

South Yorkshire is home to multiple construction businesses, including the nationally

recognised Polypipe and the successful regeneration firm, Keepmoat which has
made been involved in significant regeneration in Doncaster, specifically the
Keepmoat Stadium, home to Doncaster Rovers.

Hospitality, leisure and tourism

Hospitality, leisure and tourism are becoming an increasingly important part of the
local economy, with a new international airport, improved rail links, the Keepmoat
athletic facility and the world famous Doncaster Racecourse, home of one of the
oldest races, the St Ledger The sector is continuing to grow rapidly. Hatfield Moor,
recently designated special area of conservation and chosen to be one of the four
Champion National Nature Reserves, has contributed towards increased tourism
growth in the region.
 54
2.7.3. R ESEARCH EN VIRONMENT
With around 22,000 students in the town and this figure expected to grow further
with the development of a University, Doncaster is aiming to become a significant
player in innovation and research institutions.

The most recognised research institutions include:

Centre for Food Robotics and Automation (CenFRA)

http://www.cenfra.co.uk/

CenFRA is a brand new initiative servicing the automation needs of the food and
drink industry in the North of England and beyond, it provides a resource facility
readily available to food and beverage processing companies both large and small.

DK Exchange
http://www.dk-exchange.com

DK Exchange is a cutting-edge interactive 3D/4D simulation project which enables

you to educate, learn and sell like never before because 3D/4D content ensures your
audiences understand faster, remember longer and decide quicker.

Doncaster also benefits from a number of specialist schools, centres and a further
education establishment including:

Doncaster College
http://www.don.ac.uk/

Doncaster currently has a large centre for further education, educating many of the
town’s students, there are significant plans to develop the College further with a
potential for university status.

2.7.4. C REATIVE S ECTOR P ROFILE

2.7.4.1. M AI N C R E AT I V E I N D U ST R Y S EC T O R S
Film, video, music, design, fashion, photography – the creative industries sector is
one of the fastest-growing sectors in the UK and Doncaster has witnessed this also.

With the Borough's wide scope of creative talent and developments like the New
Performance Venue, the Art House and Education City on the way, Doncaster's
communities are in a strong position to benefit from this growth area.

Doncaster's creative sector has a growing number of micro-businesses, artists,

craftspeople and entrepreneurs. Individually, they may not be as visible as other
sectors, but the borough already has more than 400 businesses in the sector, and
over 3000 people making a living out of it.
 55
2.7.4.2. R E S EA R C H E N V I R O N M EN T

Yorkshire Fame Academy

http://www.yorksfameacademy.co.uk/

Yorkshire Fame Academy offers singing lessons, tuition in guitar, drums, bass,
keyboards, dance and performance skills. The aim is to build confidence and raise
aspirations. As a community enterprise the focus is on being accessible and
affordable to all. The Academy builds bands, groups, soloist and duos. Putting
musicians and singers together and guiding them in the right direction of how to
approach an agent and enter the professional circuit.

Yorkshire Music Academy

http://www.yorkshiremusicacademy.com/

The Academy was set up with one aim, to provide high quality tuition in all aspects
of arts, removing barriers making its accessible to all people across the borough.

Centres of Excellence
http://www.doncaster.gov.uk/Learning_in_Doncaster

The centre encourages young people to get actively involved in running their own
local Youth Centre where they can take part in a range of activities including making
films, music, drama, outdoor pursuits, crafts, health education, leadership skills,
photography, dancing and many more. These activities allow young people to
broaden their horizons and take on new challenges.

Doncaster North City Learning Centre

http://www.doncasternorthclc.net

The CLC provides an approachable, friendly and modern environment in which to

learn and work with a range of exciting new technologies. These technologies can be
used in creative, innovative and inspiring ways to take education further than
previously possible.

2.7.4.3. S UP P O R T & T R AN S F ER S T AK E HO L D E R S
The growth of Creative Industries is increasingly recognised in Doncaster, and has
been address by the local authority, strategic agencies and partners. As a result of
this, there has been an increase in support provisions for initiatives aimed at
developing the sector in addition to the support offered to other sectors.
 56
Business Link Innovation Vouchers
www.businesslink.gov.uk/yorkshire/innovation.

The Innovation Voucher Scheme provides small to medium size businesses (SMEs) in
the region, with the support to engage with Yorkshire's universities and other
academic institutions to help their business grow and develop. Vouchers up to the
value of £3000 can be redeemed to fund the cost of this practical knowledge and
expertise. The voucher scheme is designed to create lasting relationships between
businesses and knowledge based institutions that will promote regional innovation.

Creative Industries Development Agency (CIDA)

http://www.cida.org

CIDA specialises in helping to strengthen the contribution of the creative industries

sector to every sector of a global economy, regionally, nationally and internationally.
They do this strategically, working with national, regional and local governments,
and directly, providing business and professional development services for
businesses and independent practitioners in the creative industries sector.

Cultural Industries Quarter Agency

http://www.ciq.org.uk/

The CIQA has contributed to the development of a host of projects, putting in place a
growing infrastructure for the development of creative and digital industries in
South Yorkshire. More recently, the Equal Last Mile Development Partnership
provided training opportunities in the creative industries which saw 66% of
beneficiaries making significant progress in their chosen fields.

Doncaster NDC
http://www.doncasterndc.co.uk/

New Deal for Communities is a Government funded regeneration programme. NDC

has been allocated £52 million until 31st March 2011. The underlying strength of the
scheme is that it has been shaped by community views and aspirations and is being
delivered in partnership with key agencies.

Yorkshire Forward
http://www.yorkshireforward.com/

Yorkshire Forward is the regional development agency for Yorkshire & Humber.
 57
Doncaster Chamber
http://www.doncaster-chamber.co.uk/

The Doncaster Chamber of Commerce is a network that supports not only its
member businesses but those in the wider business community also. The Chamber
sits at the very heart of its local business community providing representation,
services, information and guidance.

Success Doncaster
http://www.successdoncaster.co.uk/

Success Doncaster is the brand name for the Governments Local Enterprise Growth
Initiative. The programme offers a wide range of confidential support, advice and
guidance for helping you move back into work, gain a better job, start your own
business or assist your existing business to develop and grow.

Doncaster Community & Social Enterprise Partnership

http://www.doncastercsep.org.uk

The Doncaster Community and Social Enterprise Partnership is an active focal point
for anyone interested in social enterprise to share news, information and good
practice. Doncaster CSEP aims to provide a voice for its membership and works to
raise the profile potential of social enterprises and the social economy in Doncaster.

Science City York

http://www.sciencecityyork.org.uk

Science City York is a business and skills development initiative, driving the creation
and growth of business and employment opportunities across York and North
Yorkshire within three fast-growing technology sectors – bioscience, creative
industries, and IT & digital.

Enterprise Europe Yorkshire (EEY)

http://www.ee-yorkshire.com/yf/

EEY is a business support unit, co-funded by Yorkshire Forward and the European
Commission. It is part of the European Enterprise Network. Services available from
EEY include: Information on European legislation, co-operation and
internationalisation services; innovation, technology and knowledge transfer
services; Information and support for accessing FP7; access to an extensive network
of contacts and expertise from across Europe.
 58
2.5. D UBLIN C ITY P ROFILE
2.5.1. I NTRODUCTION
Overview

Further Economic
Sectors

Electronic Software
Publishing
Life Sciences
Animation
Games
CULTURAL INDUSTRIES Dublin
Communication Design
& Media
Tourism
CORE ARTS FIELDS

Heritage
Digital
Media Mobile
Crafts
Audiovisual Applications
– Film, TV
Financial
Services

CREATIVE INDUSTRIES AND

ACTIVITIES ICT

Dublin is both the largest city and capital of Ireland. The city has a population of app.
500.000 inhabitants, the Greater Dublin Area hosts about 1,6 million people – and
counting/with an upward trend.

Dublin has been at the centre of Ireland's phenomenal economic growth and
subsequent current economic contraction over the last 10 – 15 years, a period
referred to as the “Celtic Tiger” years. Living standards in the city have risen
dramatically, along with the cost of living.

In 2005, around 800,000 people were employed in the Greater Dublin Area, of
whom around 600,000 were employed in the services sector and 200,000 in the
industrial sector. Dublin is one of the constituent cities in the Dublin-Belfast corridor
region, which has a population of about 3 million.

POLITICAL PRIORITIES

'Dublin - A City of Possibilities' is the agreed Economic, Social and Cultural Strategy
that will guide sustainable development in Dublin City until 2012. The Strategy is
divided into the following sections:

A city of homes, a city of neighbourhoods, community-friendly city, connected and

informed city, cultural and enjoyable city, democratic and participative city, diverse
& inclusive city, family-friendly city, green city, healthy & active, moving &
accessible, learning, safe, enterprising, integrated city.
 59
Cultural priorities for Dublin City Council are:

• Nurture the creativity of artists and make provision for cultural facilities in all its
plans
• Embrace and nurture the variety of cultures within our city
• Developing new cultural quarters
• Connectivity and legibility of culture through our streetscapes and historical
buildings
• Creative use of public spaces
• Generate a diverse night culture

ECONOMY

Since the advent of the Celtic Tiger years a large number of global pharmaceutical,
information and communications technology companies have located in Dublin and
the Greater Dublin Area, such as Microsoft, Google, Amazon, eBay, PayPal, Yahoo! or
Pfizer. Also, Intel and Hewlett Packard host large manufacturing plants in the area.

Banking, Finance and commerce are also important to the city. Important
international firms, such as Citibank or Commerzbank, have established major
headquarters in the city. Furthermore the Irish Stock Exchange, Internet Neutral
Exchange and Irish Enterprise Exchange are located here.

The Irish economy, and Dublin’s by extension, has changed dramatically in the last
year. According to The Economist Intelligence Unit, the economy is expected to
suffer a sharp contraction in the period 2008-2010, because of the collapse in the
construction sector, depressed private consumption and falling exports. The opinion
of the Irish Central Bank Governor, John Hurley, was along the same lines,
forecasting a contraction of 6% this year and an increase in unemployment.

A recent National Economic and Social Council report on the Irish Economy in the
st
21 Century notes that the economy is in transition from a period when
competitiveness was based primarily on low costs towards one where it is based
primarily on the ability to source and creatively apply knowledge, skilled and flexible
workers, and the high quality of the infrastructures, regulatory framework and the
public services supporting business.

Politically, the economic development strategy focuses on the following “leitmotifs”:

• The Global City

• The Engine of the Irish Economy
• A Creative City
• The Heart of the City Region
• Spatial and sectoral clusters of specialization and excellence
• Quality of Life and Economic Growth
• To maintain full employment in the city
 60
INTERNATIONAL NETWORKS

The City is working to strengthen its network of collaborating cities. It is already

closely tied to San Jose and Barcelona and is exploring the possibility of
opportunities to for ties with other creative cities.

Dublin is part of the Eurocities network (http://www.eurocities.org) and participates

in a variety of further European projects and networks. Below please find a
selection:

Cities of the Isles

http://www.coti.org.uk

The Cities of the Isles partnership is a network of six UK and Irish City Councils. This
includes Belfast, Cardiff, Dublin, Edinburgh, Glasgow and Liverpool. These cities have
come together to share urban regeneration experiences, develop joint projects and
establish a co-ordinated approach to issues of strategic importance.

Comet
http://www.interreg3c.net

Comet is an initiative of the European Union’s INTERREG programme.

Representatives include politicians, social partners and officials from the Belfast,
Dublin and Glasgow metropolitan areas. The aim is explore the potential for cross
border co-operation.

Union of Capitals of the European Union

http://www.uceu.org

The Union of Capitals of the European Union (UCEU) is an organisation of which 27

European Union capitals are members. The Union was established in 1961 to
encourage linkages and develop solidarity between these cities.

Furthermore, Dublin has twinning arrangements with

• Barcelona (Spain)
• Liverpool (UK)
• San José (USA)
 61
2.5.2. M AIN I NDUSTRIES – B USINESS S ECTORS

Information and Communications Technology (ICT)

In the 1990s Ireland became a successful player in new high technology sectors
based on modern information and communications technologies. Many companies
in this sector have located in Dublin and the Greater Dublin Area. Dublin is home to
Google’s EU headquarters, Ebay’s European headquarters and Yahoo’s European
headquarters.

Furthermore Microsoft, Amazon, PayPal, Yahoo! and Pfizers have European

headquarters and/or operational bases in the city and its suburbs. Intel and Hewlett-
Packard have large manufacturing plants in the region.

Companies like IBM are significantly expanding their R&D activities in the region and
others like Facebook opening new operations.

This table shows the type of FDI clusters that Dublin attracted between 2003 and
2008. Most of them were in the field of ICT & Electronics, Financial Services,
professional services, life sciences. Creative industries also represent an important
percentage of the total.

Table 1: FDI Clusters in the Dublin Region 2003 - 2008

Total Dublin's
Projects Share of Dublin’s share
Attracted national Leading total sector
to Dublin total Irish City investment

ICT & Electronics 68 48% Dublin 27%

Financial Services 58 56% Dublin 23%

Professional Services 24 65% Dublin 10%

Life Sciences 1717 18% Cork 7%

Creative Industries 17 57% Dublin 7%

Source: Dublin City Council- Economic Development Unit (2009)

17 This is a relatively crude measurement as it counts number of FDI projects rather than
scale e.g. Wyeth’s presence in Grangecastle which is the largest bio-technology plant in
the world only figures as one project in these numbers
 62
Further sectors of relevance to the city and region are

Banking and Finance

The finance sector has had a very important role in the economic growth of the City
of Dublin. Banks located in Ireland include Bank of Ireland, AIB, National Irish Bank,
Ulster Bank, First Active, Permanent TSB, Anglo Irish Bank, TSB Bank, ACC Bank,
Allied Irish Bank, IIB Bank and Irish Nationwide.

Ireland and Dublin have been exceptionally successful in attracting international

financial services companies. The list of companies with operations here is a “who’s
who” of the international financial services sector – Citigroup, JP Morgan Chase, ABN
AMRO, ING Group, MBNA, Merrill Lynch, State Street, Unicredito and AIG to name
but a few. These companies have been attracted to Ireland for a variety of reasons,
including an attractive fiscal and regulatory environment; availability of highly skilled
educated workforce; favorable relative cost structure; robust telecoms
infrastructure; political stability; and by effective marketing.

Notwithstanding these positive developments there are other factors that are less
positive. Although Ireland still has cost advantages over many international centres,
it is no longer considered to be a low cost location. The cost of skilled labour and
property has increased relative to other markets in recent years. In addition other
countries/regions have “upped their games” considerably in terms of marketing the
18
attractiveness of locating there .
19
Retail

Dublin has one of the busiest retail markets in Europe and leads the way in the Irish
rankings, currently attracting retail expend of €2.4 billion. It is predicted that Dublin
will continue to be the leading retail centre in Ireland, benefiting from the significant
amount of new development and extension, it will see a 14% uplift in captured
expenditure.

The main centers that compete for shoppers in Dublin are Dublin City Centre (53%),
Dundrum (6%) Liffey Valley (5.5%), The Blancharsdtown Centre (2.6%). Other
locations represent 32%. Dundrum Town Centre is the to placed shopping mall in
terms of retail expenditure.
20
Tourism

Relative to the overall economic situation in Ireland, 2008 was a good year for
tourism in Dublin. Indicative figures announced at the Dublin Regional Industry
Briefing showed that Dublin continues to lead tourism in Ireland with over 60% of all
visitors to the country coming to Dublin. 2008 saw a drop of less than 3% in visitor
numbers to the capital with a tourism revenue decrease of less than 1%. Hotel
occupancy rates remain high.

18
Deloitte for IDA (Agency for Foreign Investment in Ireland) (2004)

19 Experian(2008)
20 Dublin Tourism
 63
While 2009 is sure to be a challenging year, the quality of Dublin’s product offering
remains among the best in Europe. Major events and initiatives such as the
reopening of the Point as the O2 (state-of-the-art entertainment venue) and the
development of the Point Village (world class business and cultural hub); the
th
celebrations of the 250 anniversary of Guinness which will have a strong Dublin
th
focus and the 125 anniversary of the GAA (Gaelic Athletic Association) will give the
city a much needed boost in confidence.

Beyond 2009, Dublin can look forward to major developments. The opening of
Convention Centre Dublin in 2010 will provide an increase in business tourism
revenue with a total of more than 60 provisional bookings achieved so far,
amounting to over 70,000 delegates. Significant structural developments at Dublin
Airport are the ongoing renovations at Lansdowne Road and the designation of
European City of Science (2012) and the Eucharistic Congress (2012) point to a
vibrant and secure future for tourism in Dublin. The proximity of Dublin to the
London Olympics in 2012 is also widely expected to benefit tourism to Dublin.

Mr. Magee, CEO of Dublin Tourism, listed the decreased value of the pound; the
negative economic image of Ireland currently presented internationally and the lack
of confidence among consumers and within the industry as challenges facing the
tourism industry.

During the past ten years the numbers of overseas visitors has almost doubled and
21
there has been a very high level of investment in tourism infrastructure . Dublin’s
strong performance has seen it rise up the ranking of European cities for tourism and
is now competing with Amsterdam, Vienna, Prague, Barcelona and Budapest.

Crafts

The major sectors within the Irish craft industry are pottery, glass, jewellery, textiles
(particularly knitwear) and furniture. Irish craft businesses are characteristically
small in scale and are geographically widespread, but taken nationally the industry is
a significant employer, while also providing viable, sustainable enterprises in all
areas, including those isolated rural communities ignored as unsuitable by other
22
manufacturing sectors .

The information about the crafts sector in Dublin is limited at the moment. In
January 2009 the Quality Education Development Ltd (QED) carried out research into
the needs of the craft sector on behalf of the Dublin City Enterprise Board (DCEB).
The report targeted individuals and SMEs with less than 10 employees involved in
Craft and or Fashion in the Dublin Area.

21 Between 2004 and 2007 the number of hotels grew from 143 to 152 and the number
of rooms from 13,100 to 16, 800.
22 http://www.ccoi.ie/content/view/19/74/
 64
Table 2: Nature of Businesses

Craft 40%

Fashion 33%

Furniture 1%

Tabletop/interior lighting 1%

Jewelry 25%

Source QED

Most of the business surveyed had been in operation for over three years and less
than 5% of them were in the early stages of business development. 65% of the
businesses surveyed operate out of dedicated business premises, with a further 35%
of businesses being run from the owner/manager’s home.

In terms of employee numbers, 75% of all businesses surveyed were run by a single
business-person, with the remaining 25% having a partner or co-director involved.
When looked at from the perspective of turnover, it is seen that the vast majority of
the businesses anticipated a turnover for 2008 that would be less than €100k. The
vast majority of the businesses are involved in direct selling of their products and
only one in five businesses utilise Web-based sales methodologies.

In terms of production of goods, most of the businesses surveyed currently produce

their own goods and One third (33%) of the businesses surveyed currently export
their products.

2.5.3. R ESEARCH L ANDSCAPE

Education and schooling are part of the lifeblood of the city with its 5 Universities, 4
Institutes of Technology and the National College of Ireland catering for well over
90,000 students, both full and part-time23. The following lists a selection of the
most important research and education institutions of Dublin and the Greater Dublin
area:

Dublin Institute of technology (DIT)

http://www.dit.ie/

DIT offers a variety of programmes from Apprenticeship through to Postgraduate

level. It has app. 20.000 students. With a history stretching back over one hundred
and twenty years, Dublin Institute of Technology has been recognised as a pioneer in
technological higher education. It focuses on nurturing innovation and creativity
across and between disciplines and has been committed to making education
accessible to people from diverse backgrounds since its inception more than one
hundred and twenty years ago.

23 IDA http://www.idaireland.com/home/index.aspx?id=261
 65
University College Dublin (UCD)
http://www.ucd.ie

The origins of University College Dublin date back to the Catholic University of
Ireland, which was founded in the mid-nineteenth century. Possibly its famous pupil
was the writer James Joyce.

Today UCD offers a variety of undergraduate and graduate courses and has app.
15.000 students. More than 25% of the current student population is engaged in
graduate research and scholarship. Each of the five colleges (Arts & Celtic Studies;
Business & Law; Engineering, Mathematical & Physical Sciences; Human Sciences;
Life Sciences) has its own dedicated graduate school with the explicit task of
enhancing doctoral and post-doctoral training.

Dublin City University

http://www.dcu.ie

Dublin City University (DCU) is a young university, founded in 1980 (university status
in 1989) with today app. 12.000 students. Initially it was set up to fulfill the national
requirement for a highly-trained workforce with skills in the areas of business,
science and electronics, computer technology, communications and languages.

There are over 80 programmes, divided almost equally between undergraduate and
postgraduate courses. Postgraduate research supervision is provided on a broad
range of subject areas across all disciplines, including technology, engineering,
business, communications, humanities, science and health. Its degree programmes
were the first to be interdisciplinary, with, for example science students taking
business courses, business students taking languages and language students taking
computing.

DCU courses are designed to enable a strong interaction between academia and
practice - students are encouraged to put their academic skills into practice in the
work environment.

DCU is also home to Irelands largest arts centre, the Helix (http://www.thehelix.ie).
This multi-venue arts centre serves the people and audiences of North Dublin and
beyond with a mixture of high quality music, drama and entertainment.

Trinity College Dublin

http://www.tcd.ie

Founded in 1592, Trinity College is today recognised internationally as Ireland’s

premier university and is the only Irish university to rank in the top 100 world
th
universities in 49th position and amongst the top 50 European universities (13 ) by
the Times Higher Education (THE) - QS World University Rankings. Its three faculties
are

• Arts, Humanities and Social Sciences;

• Engineering, Mathematics and Science;
 66
• Health Sciences.
It has app. 15.000 students with app. one third studying at postgraduate level. Its
research priorities, according the College’s Strategic Plan 2003-2008, are identified
as follows:

• Establishing and applying new knowledge in health sciences and health

management
• Meeting the challenges of the Information Society
• Helping to develop public social policy and to understand the dynamics of
globalization
• Contributing to a deeper appreciation of culture and the creative arts in Ireland
and the world.

Institute of Technology, Tallaght

http://www.it-tallaght.ie/

TT Dublin was established under the aegis of Co. Dublin Vocational Educational
Committee and opened its doors to the first group of students in September 1992.

The Institute has provided Tallaght and the South Dublin region with a building fitted
out with state of the art technology in highly equipped lecture rooms, laboratories
and workshops.

Since January 1993 the Institute has been an independent third level institution
under the Regional Technical Institute's Act.

Its academic schools comprise the following:

• School of Business & Humanities

• School of Engineering
• School of Science and Computing

2.5.4. ECCE C REAT IVE S ECTOR P ROFILE

2.5.4.1. D E FI N I T I O N C R E AT I V E I N DU ST R I ES
Dublin follows the definition of the DMCS of creative industries as “those industries
which have their origin in individual creativity, skill and talent and which have a
potential for wealth and job creation through the generation and exploitation of
intellectual property.”

Accordingly, the following sectors are understood as Creative Industries:

• Advertising
• Architecture
• The Arts - Music, Visual, Literary and Performing Arts
• Cultural Tourism - Festivals and Events, Culinary Arts, Tours
• Crafts
• Design
• Designer Fashion
 67
• Film, Video and Photography
• Publishing
• Digital Media
• Software Applications, Computer Games and Electronic Publishing
• Television and Radio

This definition is not understood as a rigid one but as a very flexible one. It will be
nourished in the process by the Dublin creative sector, which will take in the end
ownership of it.

CREATIVE INDUSTRIES IN DUBLIN24

Dublin is home to an increasing number of creative industries and creative workers,
however there are still areas to work on to make the city more attractive to them.
25
DKM Economic Consultants identified some of those areas:

Dublin lacks major event and conference facilities, although this will be augmented
when the new national conference centre will be completed in 2010.

The high costs of residential accommodation has made Dublin an expensive city to
live in and has forced many creative workers into the suburbs and surrounding
counties, having to endure long commutes on congested streets. This deters
potential creative industries from coming to the city.

Dublin still lags some way behind other global cities with respect to environmental
excellence as evidenced by our perennial litter problem.

While Dublin has a diverse society there are still some unresolved social issues such
as the legal recognition of same sex marriages.

2.5.4.2. M AI N C R E AT I V E I N D U ST R Y S EC T O R S
INTRODUCTION

Alongside the emergent dominance of the ICT and financial services sector, the so-
called ‘creative industries’ would appear to be gaining in importance (Florida and
Tinagli, 2004).

These industries include publishing, advertising, radio and TV production, news

agencies, the arts sector and film and video production. A recent study prepared for
the European

Commission shows that, between 1999 and 2003, growth in value added to EU GDP
from the creative sector was 6.5% for the EU25 (KEA, 2006). Over the same period,

24 The information in the section come from Lawton, Murphy & Redmond (2007)
25 From the Creative Industry Analysis of proposed HKR Headquarters 2008 Report by
DKM Economic Consultants
 68
the sector grew at a considerably faster pace than the average for the European
26
economy. In an Irish context, the study shows the average turnover growth of the
cultural and creative sectors to be 7.7% with a growth in value added to GDP of 8.8%
(KEA, 2006). Given the importance of the Dublin region to the Irish economy we can
assume that the foregoing proportions are similar and perhaps even greater within a
Dublin context. Thus, the data points towards the growing importance of the
creative economy as a driver for development within the regional and national
economy.

The following lists the most relevant CI sectors:

Digital Media

According to a report published by Price Waterhouse Cooper in 2008, the compound

annual growth rate (CAGR) of the digital media industry was 6.6%. In 2008 Irish
Digital Media grew 16% (based on Digital Hub company growth)

There are 140 digital media SMEs located in Dublin, of which The Digital Hub cluster
accounts for 100 (& about one-fifth of the Ireland’s digital media industry over all).
There are currently 870 permanent and 373 non-permanent people employed in the
100 companies located in The Digital Hub cluster. It is estimated that the breakdown
of creative companies to technology companies in The Digital Hub is in the region of
40:60

Design

Approx 15% of companies in The Digital Hub cluster (www.thedigitalhub.com) are

design companies.

Software, computer games and electronic publishing

Dublin hosts a strong indigenous software sector. The games cluster is growing.
However, the electronic publishing sector is dominated by FDI companies, such as
Goa Games or Amazon, whereas indigenous publishing is rather weak.

Communication & Media

Dublin is the centre of both media and communications in Ireland, with many
newspapers, radio stations, television stations and telephone companies having
their headquarters there.

Animation

Irish companies are actively providing top-end animation services for the
entertainment media sector worldwide as well as creating significant amounts of
original IP for the international market.

Ireland has a strong tradition in animation, thanks to the legacy of the classical
animation companies Sullivan-Bluth, Murakami-Wolf-Swenson and Emerald City,

26 The average turnover growth is a useful economic indicator to measure the growth in
a particular sector(s) in comparison to growth in the overall economy within a given
timeframe.
 69
which operated in Ireland in the late 1980’s and early 1990’s. These companies help
seed a wealth of experience, expertise and management acumen that has led to the
current renaissance in Irish animation. As well as having a unique creative
environment that has allowed the animation industry to prosper, Ireland also has a
strong third level educational and training infrastructure for animation with the likes
of Ballyfermot College of Further Education and the Dun Laoghaire Institute of Art,
Design and Technology turning out award-winning practitioners on a yearly basis.

Architecture

Dublin is home to some of the world’s top practices such as HKR Architects and
Murray Ólaoire Architects. The construction boom during the Celtic Tiger made the
number of architects and practices boom, as an example number of architects living
27
in Dublin increased by 150% over the course of a decade .

Many cities worldwide have included iconic architecture in their urban development
plans, and Dublin has embarked on a similar route with landmark buildings planned
in the Digital Hub, the Docklands and at Heuston Station. It is expected that this will
28
encourage tourism, cultural activity and the creative industries .

Further important creative sectors are Mobile Applications as well as Music, Visual
and Performing Arts.

2.5.4.3. R E S EA R C H & E DU C AT I O N E N V I R O N M EN T

UCD School of Art History and Cultural Policy

http://www.ucd.ie/arthistory/index.html

UCD School of Art History and Cultural Policy comprises a full course of
undergraduate studies in Art History within the BA programme for both day and
modular students and postgraduate studies at all levels in Art History and in Cultural
Policy and Arts Management.

The School has a strong postgraduate programme. Incorporating taught and

research possibilities, studies can be taken at MA, MLitt and PhD level in both Art
History and in Cultural Policy and Arts Management. The postgraduate programme
in Cultural Policy and Arts Management is not confined to the visual arts, but
addresses the broad spectrum of artistic activity.

Nova UCD
http://www.ucd.ie/nova/

NovaUCD is the Innovation and Technology Transfer Centre at

UCD. Officially opened in October 2003, NovaUCD’s vision is to become

27 DKM (2008)
28 DKM (2008)
 70
an international leader in the commercialisation of research and other knowledge-
intensive activity for the benefit of the economy and society.

NovaUCD is responsible for the implementation of UCD policies relating

to intellectual property (IP) and for the provision of advice on the identification,
protection and exploitation of this IP. It also provides entrepreneurs and knowledge-
based start-up companies with a comprehensive business support programme
comprising advice, seminars, consultancy, workshops and individual training,
incubation and other related facilities for entrepreneurs, campus companies and
knowledge-based ventures.

In addition NovaUCD is the main point of contact for companies seeking partners for
collaborative research and advice on licensing and other commercial opportunities
and is responsible for the development of co-operation with industry and business.

TCU-TRI (Trinity College Dublin-Trinity Research & Innovation)

http://www.tcd.ie/research_innovation

Trinity College builds on its four-hundred-year-old tradition of scholarship to confirm

its position as one of the great universities of the world, providing a liberal
environment where independence of thought is highly valued and where staff and
students are nurtured as individuals and are encouraged to achieve their full
potential.

The College is committed to excellence in both research and teaching, to the

enhancement of the learning experience of each of its students and to an inclusive
College community with equality of access for all. The College will continue to
disseminate its knowledge and expertise to the benefit of the City of Dublin, the
country and the international community.

The Trinity Research & Innovation Unit promotes and manages the interface
between TCD researchers, funding agencies and industry. It is also responsible for
managing TCD’s Intellectual Property, Technology Transfer and Innovation,
Commercialisation and Entrepreneurship.

National College of Art and Design

http://www.ncad.ie

The National College of Art and Design offers the largest range of art and design
degrees in the State at undergraduate and postgraduate level across a range of
disciplines and media. Its objective is to provide students with the means to grow
into creative artists, designers and educators, with clear roles in the culture and in
society. Its faculties encompass:

• Design
• Education
• Fine Arts
• Visual Culture
 71
The disciplines cover Ceramics, Digital Media, Fine Print, Fashion, Glass, Industrial
Design, Lithography, Metals, Painting, Sculpture, Teacher Education, Textiles, Video
and visual Communication.

Institute of Art and Design Technology

http://www.iadt.ie

Dun Laoghaire Institute of Art, Design and Technology [IADT] was established in
1997 and is one of 13 publicly funded Institutes of Technology in Ireland, operating
under the Institutes of Technology Act [2006]. IADT is designated as a higher
education institution under the Higher Education Authority.

IADT has 1,650 full-time students, 800 part-time students and is set to grow to
2000+ full-time places. IADT has built an international reputation in the creative,
cultural and digital media sectors and is also an educational and enterprise partner
in Dun Laoghaire/Rathdown and the wider Dublin and East Coast region.

It has three schools with a focus on the following fields of study:

• Business & Humanities
• Creative Arts
• Creative Technologies

IADT School of Creative Technologies

http://ccta.iadt.ie/ccta/index.html

Creative Technologies at IADT is people-centred technology in a digital environment.

The School of Creative Technologies offers programmes which combine technical
skill and knowledgewith an understanding of how technology operates in society.

The objective is to explore the interaction of people and technology. This goal finds
expression in a range of existing disciplines such as Audiovisual Technologies,
Gaming, Multimedia, Psychology, e-Learning, Assistive Technologies, Teaching and
Learning, e-Business; and emerging disciplines such as Cyberpsychology.

The School of Creative Technologies hosts the Centre for Creative Technologies and
Applications (CCTA), which is an umbrella for existing and future research
publications. Recent successes of the CCTA include significant funded research into
wireless, mobile and assistive technologies.

Dublin Institute of Technology

http://www.dit.ie

DIT is the sole provider in the country of degree programmes in Tourism Marketing,
Transport & Logistics, Photography, and Environmental Health, and offers the only
Degree in Culinary Arts in Europe. In the Built Environment, the Dublin School of
Architecture has the rare distinction of training students in Architecture and in
 72
Architectural Technology side by side, preparing them for their roles in a
professional design team.

In the School of Art Design and Printing, students are studying Display and Interior
and Furniture Design, as well as Fine Art and Sculpture. DIT is also home to the
Conservatory of Music and Drama, offering programmes in Music Performance at
Bachelors and Masters levels, as well as a Diploma in Drama Studies.

National Digital Research Centre

http://www.ndrc.ie

The NDRC invests in and proactively facilitates value creation from applied digital
technology research, effectively bridging the gap between innovative research and
impact in the marketplace.

Collaboration, based on multi-disciplinary and multi-party project teams, is core to

the NDRC ethos and ensures that efforts are firmly solution-focused. Concurrent and
interdependent twin research streams of technology advancement and business
development ensures that value and impact in the marketplace guide project
direction.

The NDRC’s interest is in the application of both digital and digital media
technologies in any of the thematic areas of

• Healthcare
• Entertainment
• Education
• Environment

DCU: SIM - Society, Information and Media

http://www.sim.dcu.ie/

The centre for Society Information and Media (SIM) is a communication research
centre, part of Dublin City University (cp. above), which investigates socio-
economic, historical, professional and cultural aspects of print, audiovisual and
digital media.

SIM's agenda is based on a range of approaches to the role and features of the
media and public information in their socio-cultural and technological setting as
well as creative media production and practice projects. SIM's researchers
represent a range of approaches to study of the mediated communication and
related ‘information society’ issues, including those of policy studies, reception
analysis, cultural studies, political economy, history, textual studies. SIM also
supports collaborative media production and practice projects, including the
authoring/design of new media objects, and digital media applications for teaching
and learning.

SIM's research agenda is currently focused on four cross-cutting themes as follows:

• Digital Media Cultures and the Information Society

 73
• International and Intercultural Media
• Creative and Practice-based Research
• Media Histories, Policies and Professional Practices

DCU Invent
http://www.dcu.ie/invent/

Invent is a state of the art Innovation and Enterprise Centre. Established in 2001, as
the Commercialisation Gateway of DCU, Invent’s purpose is to transform knowledge
into commercial success and to provide the critical link between the university
campus and the marketplace.

IT-Tallagt: Creative Digital Media programme

ITT offers a four year Creative Digital Media programme. This programme delivers a
range of media–related modules. It strikes a balance between media practice and
theory, recognizing the important links between media productions and the
concepts, which drive them.

The Creative Digital Media degree has been running for over ten years now and is a
leader in its field, having established a strong reputation within industry for
providing graduates with the professional skills relevant to current and future job
markets.

The Graduate School of Creative Arts and Media (GradCAM)

http://www.gradcam.ie

The Graduate School of Creative Arts and Media (GradCAM) is a new collaborative
initiative which builds on the expertise of the National College of Art & Design
(NCAD), the Dublin Institute of Technology (DIT), the University of Ulster (UU), and
the Institute of Art, Design and Technology, Dún Laoghaire (IADT).

The School is a shared space of structured doctoral studies and research support -
what has come to be known as "fourth-level" education; the School is a centre for
creative research development; the School is a framework for critical
interdisciplinary dialogue; and the School operates as a permeable institution of
enquiry that facilitates, promotes and leads the interaction between cultural
practice, educational practice and the everyday world of work and innovation
beyond the academy.

2.5.4.4. S UP P O R T AND T R AN S F E R S T AK E HO L D ER S (S E L EC T I O N )
Digital Hub
http://www.digitalhub.ie

The Digital Hub (Dublin City Council’s sub-partner in the ECCE Innovation project) is
an Irish Government initiative to create an international centre of excellence for
 74
knowledge, innovation and creativity focused on digital content and technology
enterprises. A community of people – artists, researchers, educators, technologists,
entrepreneurs and consumers, are all working together to create innovative and
successful digital media products and services.

Its function is to build a value proposition to attract creative and technology people
and innovative companies involved in the creation, management, delivery and
consumption of digital media content and applications, providing also the
infrastructural facilities which are necessary to achieve the above and which will
support, develop and grow individual and collaborative enterprise, research and
learning activities particularly focussed on digital media.

In addition to enterprise and learning facilities the Digital Hub also provides space
and support for start ups & scaling SMEs as well as space for large scale
multinational companies. It encourages collaboration in areas such as:

• Animation
• e-Commerce
• e Learning
• Internet Agencies
• Games, & Mobile/Wireless applications.

Digital Hub CEO Forum

The Digital Hub CEO forum is an initiative of the CEOs of companies located in The
Digital Hub. The Digital Hub CEO Forum is a recurring meeting which takes place
each quarter and has proved to be a successful more recent initiative. The objectives
of the CEO forum are:

• to be an action oriented forum

• to set up a network of peers driven by the Company CEOs
• to add value to individual companies and to The Digital Hub digital media cluster

Enterprise Ireland
http://www.enterprise-ireland.com

Enterprise Ireland is the government agency responsible for the development and
promotion of the indigenous business sector.

Its key focus, for Irish companies is covered under the following five areas of activity:

• Achieving export sales

• Investing in research and innovation
• Competing through productivity
• Starting up & scaling up
• Driving regional enterprise
Enterprise Ireland also provides assistance for international companies who are
searching for Irish suppliers.
 75
Media Cube, IADT
http://www.mediacube.ie

Funded by Enterprise Ireland, Media Cube’s goal is to provide an environment for

the growth and development of new ideas and businesses in Digital Media, and to
create opportunities for their application and further evolution through the channels
of commercial activity.
2 2
The Cube is a 1,100 m facility, with approximately 600 m divided into 25 enterprise
2 2
units ranging from 14 m to 25 m in size, an embryo (hot desk) area and industrial
research space. Media Cube has a full range of shared and charged services available
for client enterprises. The location of the Cube on IADT’s campus ensures that client
enterprises have access to specialist staff/expertise, state-of-the-art facilities and a
direct link with the digital media community.

Hothouse Programme
http://www.hothouse.ie

Hothouse is an award winning Innovation and Technology Transfer Centre at Dublin

Institute of Technology. The mission of the Hothouse Programme is to assist
companies and entrepreneurs start and grow businesses based on DIT research and
assist DIT colleagues and students commercialise their intellectual property.

Hothouse provides assistance and support for:

• Entrepreneurs to start and grow businesses

• Business Leaders to find technologies, research partners, and funding
• Investors to find high potential opportunities
• DIT staff and students to commercialise their Intellectual Property (IP).

Digital Media Forum

http://ww.digitalmediaforum.net

The Digital Media Forum is an enterprising network helping connect individuals and
organisations in the digital media sector all around the world. It addresses
businesses and research institution in the field of film, TV, Animation, Games, Mobile
or Web content.

The aim of the Digital Media Forum is to unify the Digital Media industry by creating
cross-platform content programmes with a focus on innovation and commercial
enterprise. It is also a priority of DMF to continually build best practice through its
initiatives in training and education, with particular emphasis on enterprises that can
build and maintain scale and become global players in the Digital Media industry.
 76
Animation Ireland CEO Forum
http://www.animationireland.com

The Animation CEO Forum brings together CEOs from the leading Irish animation
companies to discuss industry issues and help the continuing development of the
Irish animation industry on an international basis.

Dublin City Enterprise Board

http://www.dceb.ie

DCEB (Dublin City Council’s sub-partner in the ECCE Innovation project) helps start
up and micro businesses in Dublin City with enterprise information, advice, training,
mentoring, networking and financial assistance. They are currently involved in
research on the crafts sector in order to identify needs and requirements of the
sector with regards to business support services.

City Development Board

http://www.dcdb.ie

The Dublin City Development Board (DCDB) is a partnership of key agencies

influencing local development in the city. It is an independent board which works
under and is supported by the Local Authority. The main aim of the DCDB is to
establish a strategy for social, cultural and economic development and to oversee its
implementation.

Creative Dublin Alliance

http://www.creativedublinalliance.com

Creative Dublin Alliance is an initiative by the Dublin City Council, which links local
authorities, partners from higher education institutions and the business and private
sector. The aim of the alliance is to develop a “creative/sustainable city with a rich
quality of life and a vibe that is difficult to replicate elsewhere-distinctly Dublin”.

The Alliance seeks to expand the range and variety of creativity and innovation
across the following fields:

• Innovation research, the sciences, and new technologies especially green

technologies
• Innovation in Arts, Culture and design
• Innovation in Digital media and Information technology
• Innovation in social and community structures and activity
• Innovation in Urban design and form.
Its programme for 2009 is designed to create a cross-sectoral commitment to and
awareness of creativity and innovation in Dublin. It aims to ensure that Dublin
establishes an international reputation for creativity and innovation and attracts
investment in innovation and internationally mobile talent and skills into Dublin
workplaces and research & development in Universities.
 77
Its programme includes the following actions:

• The development of a brand for Dublin

• The organisation of a Dublin festival of creativity and innovation
• The development of key performance indicators for the city and the
international benchmarking of same.
• The targeting of research on city challenges and future options.
• The development of an international network of collaborating cities
• The development of ways to measure and improve the Openness of the city.
• The development of urban spaces and an urban form that fosters creativity and
innovation.
• The development of an innovative social and community campaign to increase
the levels of universal access in the city.
The development of new interactive web portals to increase the participation of citizens
and stakeholders and reach out internationally.
 78
2.6. E INDHOVEN CITY P ROFILE
2.6.1. I NTRODUCTION

Further Economic
Sectors
Laser & Light
Technologies

CULTURAL INDUSTRIES Eindhoven

Design

CORE ARTS FIELDS

Medical
Technologies

CREATIVE INDUSTRIES AND

ACTIVITIES

Electronics

th
Eindhoven is is the largest city in southern Netherlands and the 5 largest in the
country. Forty per cent of all Dutch spending on research & development takes place
in this region. This is also a reason why Eindhoven and the surrounding region is
officially referred to as ‘Brainport'.

Brainport encompasses 21 municipalities around Eindhoven, which between them

are home to 725,000 people and 355,000 jobs.

Cross-border links with the neighboring countries and particularly the cities of
Leuven and Aachen are contributing to the region’s economic strength.

ECONOMY

In 1891 Philips founded their first light bulb factory in the city. In the following
decades, Philips grew into one of Europe's largest companies, and Eindhoven's
position as an important manufacturing centre became firmly established with the
arrival of car and truck manufacturer Van Doorne's Automobiel Fabriek (DAF) in the
1920s.

Like most European industrial centres, the city has undergone a structural change in
th
the 20 century. Although Philips and DAF are still hosting major production and
research sites, the city’s economy has diversified. Today, the Eindhoven Region is a
 79
centre of technology-related branches in the Netherlands, with 25% of all
employment in the region in the field of technology.

INTERNATIONAL NETWORKS

In 2003, Eindhoven entered into a partnership with Leuven in Belgium and Aachen in
Germany, thereby creating a cross-border region. The Eindhoven-Leuven-Aachen
triangle aims to promote and serve as an example for international and interregional
partnerships in the field of knowledge and innovation. (www.elat.org/)

The city has twinning agreements with the following cities:

• Minsk (Belarus)
• Nanjing (China)
• Bialystok (Poland)
• Chinandega (Nicaragua)
• Emfuleni (South Africa)
• Gedaref (Sudan)
• Bayeux (France)

2.6.2. M AIN I NDUSTRIES – B USINESS S ECTORS

Eindoven’s most important business sectors include electronics industry, medical
technologies, chip technologies, design, light and laser technologies.

World famous companies like Philips, DAF, ASML, Simac and Neways are located
here, close to a range of engineering firms and young innovative businesses.

The biggest companies are Philips (electronic), ASML (chips machines), Daf/Paccar
(trucks) VDL (construction), NXP (chips), TomTom (GPS navigators).

2.6.3. R ESEARCH L ANDSCAPE

Eindhoven has prestigious educational and research institutions, including its
University of Technology, the Design Academy, TNO Science and Industry, the Mikro
Centre and the Holst Centre. There are many R&D activities throughout the region
and compared with the rest of the country spending on R&D is high. The following
lists a selection of the most important R&D institutions:

Philips Research
http://www.research.philips.com/

Founded in Eindhoven in 1914, Philips Research is a part of Philips Electronics NV

and has expanded the scale and scope of its activities to become one of the world's
major private research organisations. With laboratories in six different countries, it
creates technologies that will lead to products that improve the quality of life.
 80
The activities have resulted in the award of over 60,000 patent and design rights,
and the publishing of thousands of technical and scientific papers.

TNO Science & Industry

http://www.tno.nl

TNO is an independent R&D organisation whose mission is to make an active

contribution to the competitive power of companies and organisations, to the
economy and to the quality of society as a whole.

Holst Centre
http://www.holstcentre.com

The Holst Centre is an independent R&D institute that develops generic technologies
and technology platforms for autonomous wireless transducer solutions and
systems-in-foil.

IPO

Internationally renowned institute for perception research (IPO) researches the

ergonomic and cognitive aspects of user interfaces for direct manipulation
interaction. In consultation with industry and government, IPO focuses on the
development and design of user-friendly interfaces for products, services and
systems in multimedia environments.

COBRA / NRC Photonics

http://www.cobra.tue.nl

Communication technology Basic Research and Applications (COBRA) is the Dutch

national centre for research and education on enabling communication
technologies. The main focus of COBRA is the creation and transfer of knowledge in
this field via education.

Eindhoven Centre for Innovation Studies (ECIS)

http://fp.tm.tue.nl/ecis

ECIS is a research institute in the field of innovation, its causes and consequences,
and technological change in organisations, networks, regions, economic sectors and
national economies.
 81
High Tech Campus
http://www.hightechcampus.nl/

The High Tech Campus offers an infrastructure aimed at attracting multinational as

well as small- and medium-sized companies and start-ups, all operating in the field
of high-tech. By fostering cooperation, knowledge and experience exchange
between them the campus embodies the open innovation philosophy.

Over 70 companies and institutes have already established themselves at the site, all
in a dynamic mix of multinational companies, small and medium-sized businesses
and technology start-up companies. Campus residents share knowledge, experience,
open laboratories and technical infrastructure, enabling better, faster and more cost
efficient innovation.

2.6.4. ECCE C REAT IVE S ECTOR P ROFILE

2.6.4.1. M AI N C R E AT I V E I N D U ST R Y S EC T O R S
More than 30.000 people work in the creative sector. Almost 10 % of the total
economic production can be described to the creative industry.

A particular focus is on the design sector with Philips Design having its headquarters
in Eindhoven.

2.6.4.2. R E S EA R C H & E DU C AT I O N E N V I R O N M EN T

Design Academy Eindhoven / European Design Center

http:// www.designacademy.nl

Design Academy Eindhoven provides a higher vocational education in industrial

design. There are some 700 students from around 25 different countries. The
academy offers eight studies and each year there is a Graduate Show that displays
what the graduates have produced.

Media Research Center

http://www.hightechcampus.nl/_campus/facilities_and_services/research/media_re
search.html

At Philips Research, the audio, video and graphics research has been clustered
primarily within the Media Research Center. The SAVG group offers a selection of
facilities, services and equipment, i.e. opportunities that are unique in Europe.

TU/e Industrial Design

http://www.industrialdesign.tue.nl
http://w3.id.tue.nl/en/

The Industrial Design department of the TU/e (Eindhoven University of Technology)

is focusing on the development of intelligent products, systems and services. That
applies to both education and research. The important thing is not (only) technology
 82
itself, but more especially the way in which it is used to find creative solutions to the
needs of consumers and end users.

Stan Ackermans Institute

www.sai.tue.nl

The Stan Ackermans Institute of the Eindhoven University of Technology has ten
two-year full-time day programmes leading to the degree of Master of Technological
Design.

The technological designer programmes were initiated at the request of the Dutch
high-tech industry. High-tech companies need professionals who can design and
develop complex new products and processes and offer innovative solutions. All ten
programmes work closely together with high-tech industry, offering the trainees the
opportunity to participate in large-scale, interdisciplinary design projects under
industrial circumstances. With this unique cooperation we provide our trainees with
a valuable network of contacts in industry.

2.6.4.4. S UP P O R T AND T R AN S F E R S T AK E HO L D ER S (S E L EC T I O N )
Design Connection Brainport
http://www.designconnectioneindhoven.com/

Design Connection Brainport is responsible for the implementation of the

programme Design in Brainport 2005 - 2010. The programme is committed to the
reinforcement and growth of the top position of Southeast Brabant in the field of
design & technology. In collaboration with the business sector, the creative industry,
and knowledge institutes, Design Connection Brainport is thus contributing
substantially to the region's increasingly stronger international competitive position.

Brainport Design Agenda

http://wwww.brainportdesignagenda.nl

Brainport Eindhoven, the regional development agency, has a specific development

strategy focused on the promotion of Design. Its ambition with respect to design is
to become the European design centre for products and product services. A
particular focus lies on the design of high-tech products and 3-D-design.

The Design in Brainport Eindhoven 2009-2014 programme encompasses currently 33

concrete projects running and invites new initiatives and prompts collaboration and
clustering of economic, cultural, technological and social forces.

De Hub
http://www.dehub.nl/

De Hub is the Local Resource Centre for the Creative Industries in the Eindhoven
region. The centre operates as a service, support and information point for creative
 83
starters. On the other hand it supports and stimulates crossovers and interactions
between SMEs and the creative sector. Services include coaching, working space,
funding, training, information, intellectual property rights and presentation and
export facilities and opportunities.
The Hub is part of the Art and Design cluster located in the redeveloped former
Philips factory that is now called De Witte Dame in the centre of Eindhoven.
The Centre is initiated by Alice Foundation, a small Creative Industries Development
Agency in Eindhoven. The Centre is funded by the city of Eindhoven and by the
Interreg IIIB program of the European Union.

Incubator 3+
http://www.incubator3plus.nl/

Incubator 3+ supports starting entrepreneurs with very promising technologically

innovative plans and ideas. It stimulates and facilitates them in the idea and planning
phase. The aim is to boost the number of successful technostarters in the region.

Design Incubator
http://www.eindhoven.eu/en/Themes/Art_&_Design/Vormgeving/Design%20Incub
ator

The Design Incubator supports starting and young design entrepreneurs in the start
phase of the company (active for less than five years). These are companies active in
designing new products or concepts with an eye to commercial applications. The aim
is to boost the number of successful design starters in the region.

Design Platform Eindhoven

www.designplatformeindhoven.nl
http://www.dutchdesignweek.nl

Each year in October Dutch Design Week is organized by Design Platform Eindhoven
(DPE). DPE is a professional organization that, supported by the Eindhoven Design
community, seeks to develop a stimulating and dynamic design climate in all
cultural, social and economic domains in the region of Eindhoven. To that end, DPE
organizes events, conferences, lectures and workshops based on three major
dimensions: cultural stimulation, social cohesion and economic enhancement.

Alice Foundation
http://www.alice-eindhoven.nl
http://www.creativeconnectioneindhoven.nl

Alice Foundation is a small Creative Industries Development Agency in Eindhoven. It

is e.g. initiator of “de hub”. Its online portal provides information on creative
industries in the Eindhoven region.
 84
Technostars
http://www.technostars.nl

Technostars is a fund for starting technology entrepreneurs from the South

Netherlands (North Brabant, Limburg and Zeeland) active in innovative
manufacturing (automotive and embedded software), life sciences, ICT and/or
combinations of these technology areas. The aim is to make a rapidly growing,
successful and profitable 'TechnoStar' from each technostarter.

TechnoStars provides risk-bearing capital and offers supervision and advice. The
fund participates always with another investor whereby the other investor commits
at least a third of the requested capital. TechoStars can range from € 100,000 to €
600,000.

KVK (Chambre of Commerce)

http://www.kvk.nl/regio/brabant/overdekamervankoophandel/090_Contact/adresg
egevens/KantoorEindhoven.asp

The Chamber of Commerce manages the trade register. The Chamber's other tasks
are to provide entrepreneurs with information, stimulate regional trade & industry
and advise local and regional government.

TAC (Temporary Art Center)

http://www.tac.nu

The TAC at Vonderweg 1 provides accommodation for eighty studios and workshops.
The around ninety ‘creative people' working in the building include fine artists,
writers, graphic and industrial designers, fashion designers, musicians, web
designers, architects, photographers and furniture makers. The building also has
around two thousand square meters of smaller and larger rooms, exhibition areas
and a studio. The canteen serves as a meeting place for people from all the different
disciplines.

REDE
http://www.rede.nl

NV REDE, the economic development agency for the Eindhoven Region. It aims to
support the regions economy and strengthen it so that the Eindhoven Region
becomes a top technology region of European and global status. NV REDE stimulates
regional economic activities by:

• Acquiring new business through promotion, acquisition and business

accommodation
• Consultancy and corporate financing of SME companies
• Offering flexible, small-scale business premises with facilities in business centre
• Initiating and carrying out a diverse range of structure enhancing project
 85
Design Management Europe
http://www.designmanagementeurope.com

Design Management Europe (DME) was a European project aiming to encourage

entrepreneurs to integrate design into their business operations as a generator of
innovation and product development.

The focus areas are the small and medium-sized businesses (SMEs). Seventeen
European partners collaborate in the project (e.g. Cardiff, Stuttgart, Aachen). The
City of Eindhoven is co-initiator and project leader. Design Connection Brainport
supports the City of Eindhoven in the coordination of DME activities.
 86

2.8. C ITY P ROFILE N ANTES

2.8.1. I NTRODUCTION
Overview

Further Economic
Sectors
Video Games Nantes
Transport &
Biotechnology Logistics

CULTURAL INDUSTRIES

Arts & Antiques Audiovisual

Architecture
Performing Arts
Ship
Aeronautics Crafts
CORE ARTS FIELDS Building
Music

Visual Arts
Advertising
Media Publishing

Design Communication
ICT

CREATIVE INDUSTRIES AND

Banking, Finance,
ACTIVITIES Insurance

Nantes is a city in western France, located on the Loire River, close to the Atlantic
coast. Nantes is the capital of the Pays de la Loire region, and it is also the most
important city of the historic province of Brittany, and culturally still remains
strongly identified with it.

With app. 300.000 inhabitants, the city is the sixth largest in France, while its
metropolitan area is the eighth with app. 800.000 inhabitants. 31% of the
inhabitants are under 20 years old. The region is the highest ranked in France in
terms of activity and employment rate for the population over 18 years of age. The
share of migratory balance in population growth is 37%, the highest rate amongst
major urban areas in France.

POLITICAL PRIORITIES

Nantes puts a political focus on the promotion of mobility: In 2005 it was awarded
the European Mobility Week Award, which rewards local authorities for activities
organised in the framework of the European Mobility Week. In 2008 Nantes was
hosting the European Mobility Week.

In 2006, Nantes has been one of the winners of “the Ribbon for sustainable
development”, an annual award by the bank “Dexia Crédit Local”, which promotes
sustainable development initiatives in France.

To improve its competitive edge and to build on 20 years of strong investment in a

dynamic cultural policy, Nantes recently launched a major new strategic project for
 87
the city’s mandate: the development of the "Quartier de la Création" or art and
lifestyle district that will re-group the key higher educational establishments in the
“creative sector” (fine arts, architecture, communications…) with research and
creative companies, provide incubation space and collaborative platforms and
activities. This project, that rehabilitates the former shipyard buildings on the Ile de
Nantes, should be achieved in 2014. The cluster seeks to reach beyond the
immediate, geographic cluster regionally and internationally.

Further key political priorities, as outlined in the 2008 mandate for the city council,
are to promote international competitiveness (“attractivité internationale”) and
education.

ECONOMY

In recent years Nantes’ economy has grown significantly. Between 1997 and 2005 it
generated the creation of over 54 800 jobs in the private sector, which is a growth
rate of 30%.

Nantes’ shipbuilding yards have long been a key pin in the area’s economic
development. During the 1970’s, the city’s chemical, aerospace equipment, clothing
and mechanical industries have expanded rapidly. However, today the service
sector represents over 61% jobs in the urban area and the expansion of the tertiary
sector within the Nantes economy is continuing. Consulting and assistance
companies (ICT, business consulting, media), financial activities, operational
services and transport and logistics are at the heart of the development of the local
services sector.

At the same time, the traditional industrial sector has experienced a transformation
and innovative technologies are increasingly applied. Linkages and networks
between local research and innovation centres and major industrial stakeholders are
contributing to competitiveness, particularly in the following sectors:

• Aeronautics, around Airbus

• Ship-building with Acker Yards
• Agro food industries with the companies Saupiquet, Fleury Michon and Charal
In addition, Materials/Mechanics and Composite materials – are one of the major
conductors for local industry. As a port city, Nantes is also a major trade centre and
with Saint-Nazaire has considerable logistical assets.
 88
INTERNATIONAL NETWORKS

Nantes belongs to the Eurocities network (http://www.eurocities.org) and was

elected onto this organisation’s Executive Committee in 2006. Nantes is currently
chair of the Eurocities Culture Forum and also the Working Group on Culture and
Young People and the Working Group on Climate Change and Energy. Nantes is an
active member of this organisation’s mobility, environment, knowledge society and
social affairs forums.

Nantes is also a member of the “United Cities and Local Governments” (UCLG)
Network. Here it is leading the working group on “Human Rights and Local
Government” of the “Committee on Social Inclusion and Participative Democracy”.

Nantes belongs to the Conference of Atlantic Arc Cities: 37 cities on the Atlantic
coast from Portugal to Scotland and chairs the Sustainable Urban Development
Commission in this network.

The city of Nantes participates in a range of European projects e.g.

• “Generation Europe”
• “Eur@dioNantes” : A European journalism project based in Nantes designed to
help train young European journalists it is broadcast on the web and on a local
FM radio station.
• “Graine d’Europe”: this association works in primary, middle and secondary
schools to promote awareness of the diversity of cultures in Europe.
Nantes is also the organizer of the biannual International Human Rights Forum: in
2008 this biennial forum welcomed 2500 participants and more than 100
nationalities.

Furthermore, Nantes has town twinning and cooperation agreements with:

• Cardiff, Wales (ECCE Partner)

• Saarbrücken, Germany
• Tbilisi, Georgia
• Seattle, Washington/U.S.A.
• Jacksonville, Florida/U.S.A.
• Cluj-Napoca, Romania
• Rufisque, Senegal
• Agadir, Morocoo
• Niigata, Japan
• Cochabamba, Bolivia
• Dschang, Cameroon
• Recife, Brazil
• Durban, South Africa
• Qingdao, China
• Suncheon, South Korea
 89
In the past several years, Nantes has developed strong cultural links with many cities
and institutions in Japan, and has led an initiative to encourage cultural
collaborations between French and Japanese cities and cultural institutions leading
to many fruitful cultural exchanges and projects.

The city also has friendship relations with:

• Guinea
• St. Martinville, Louisiana / U.S.A.
• Jericho, West Bank
• Desdunes, Petionville, Haiti

2.8.2. M AIN I NDUSTRIES – B USINESS S ECTORS

As discussed above, the service sector dominates the regional economy,
representing six out of ten jobs, 10 450 jobs in the private sector, 580
establishments in total and an increase of 33% jobs in the private sector between
1997 and 2007.

In total, the city has app. 30 000 businesses with 275.000 jobs, out of which app.
220.000 in the private sector.

Traditional manufacturing industries such as food, naval construction and ship

/yacht building, aeronautics and mechanical materials represent in total 28 800
private sector jobs and 1 250 establishments in total. Airbus is a key employer as is
the wood industry that represents close to 30 000 jobs and 4000 companies in the
region.

The most important business sectors are:

Financial Services & Insurance

Nantes has carved itself a niche as a strong financial centre in France and as the
financial capital of western France. The region has over 580 institutions that employ
a total of 10 450 people in the private sector, with over 2200 high-level jobs (senior
management and intellectual professions). The major actors in the banking and
financial world have decided to establish their regional and inter-regional centres in
Nantes (Banque Populaire Atlantique, CIC-Banque CIO, Crédit Agricole, Crédit
Mutuel, Société Générale, BNP, LCL, Caisse d'Epargne, La Poste).

Business consulting activities

With business and management consulting activities, accountancy and legal firms
and communications agencies, business “support” activities are well represented in
the Nantes urban area. They have been growing steadily over the last few years to
stay apace with the region's economic development. For example, communications
consulting activities have developed significantly: as the sixth-largest urban area in
France in terms of the number of jobs in this sector, the Nantes urban area has seen
the third largest rate of growth (+5.7%) after Marseilles, Lyon and Toulouse.
Between 2002 and 2005, over 700 new jobs were created, mainly in communications
professions (communication and event organisation consultancies) and in
multimedia creation.
 90

Further important sectors in numbers:

ICT: 16 400 jobs and 700 establishments

Biotechnology: 40 companies + 30 research and educational establishments

Telecommunications: presence of major telecoms operators (Orange, Bouygues

Telecom, SFR, Breizh Telecom, France Telecom, Cegetel, AT&T…); 50 call centres and
3 000 jobs.

Aeronautic industries: 5000 jobs, major employer: Airbus

STRATEGIC CLUSTER DEVELOPMENT:

For several years, the French government has been developing a strategic cluster
development across all sectors. The clusters are classified as having either a “global”
or a “national” reach. In the Nantes region, there are now 9 official clusters or “poles
de competitive” of which the following 4 of are particular relevance to creative
industries:

• “Media and Telecom”: cluster with global reach focusing on high debit (internet
of the future) and digital content (image, sound, video, TV…) this cluster (that
spans the Nantes and Rennes regions) is developing steadily in and around
Nantes and benefits from : 1) the creative dynamic of young innovative start-ups
notably in serious games, 3D applications, multimedia and digital content
(accompanied by the Nantes-based Atlanpole) and 2) the eco-system of creative
industries under development in Nantes’ “quartier de la creation” or creative
quarter. www.images-et-reseaux.com
• “Vegepolys”: this cluster has potentially global reach and re-groups the
professionals from the agri- / horticulture sector (horticulture, grains, salads,
wine growers, medicinal and aromatic plants. This cluster has put in place an
innovation centre focusing on urban horticulture and integrating an artistic
dimension with the “green decoration” of public space. www.vegepolys.eu
• “Luxury Car cluster”: a national cluster that re-groups professionals from the
automobile construction sector in Western France. Initially positioned on the
luxury car segment in which design is of key importance, the cluster has
extended its competences to include specific vehicle and small series
productions. www.poleautomobilehautdegamme.org
• Childhood cluster: created in the 1990s by textile and shoe companies (a
traditional regional strength), today this cluster brings together companies and
actors from a diverse range of sectors: puericulture, interior design, furniture,
agri-food, video games …..etc. all of which propose products and services for
children and many of which work with artists and designers in product and
service development. www.poleenfant.fr

2.8.3. R ESEARCH L ANDSCAPE

See 2.8.4.3
 91
2.8.4. ECCE C REAT IVE S ECTOR P ROFILE
2.8.4.1. D E FI N I T I O N C R E AT I V E I N DU ST R I ES
The definition proposed for the ECCE Innovation project is also our definition in
Nantes: any industry carried by individual creativity and talent, likely to generate
growth and employment while creating and exploiting the intellectual property.

2.8.4.2. M AI N C R E AT I V E I N D U ST R Y S EC T O R S
Most of the figures are available for the Pays de la Loire Region. 20 000 jobs are
directly related to culture in the Pays de la Loire Region. More than 13 000
permanent workers are employed in 640 companies. 8 600 persons work in the
cultural public sector.

Advertising

The advertising revenues recorded by the media sector (press, radio, outdoor, TV,
cinema, directories and Internet) reached 478 M€ in 2007 for the Region of Grand
Ouest (Bretagne-Pays de la Loire).

Communication

22 of the 30 bigger communication agencies working in the communication sector

and located in the Great western area are established in Nantes' area.

Media (press, TV, radio)

The headquarter of the 2nd largest French press group, Ouest France, is based in
Nantes. Numerous newspapers and magazines are published in Nantes (www.ouest-
france.fr).

"La Scène" is the most famous magazine dedicated to the performing arts in France.
Its publisher also organises the national professional event for perfoming arts,
"Biennales internationales du spectacle" (www.professionnelsduspectacle.com).

Three local and regional TV channels (France 3 Ouest, Nantes 7, Télénantes) and
around 10 radio stations are transmitting from Nantes in this area.

Audiovisual production

On the 12 producers working in the Pays de la Loire Region, 10 companies are

located in Nantes' area (www.apapl.com). Most of them produce documentaries and
magazines for local TV channels. 36 hours have been produced in 2007 in the Pays
de la Loire Region.

Architecture

71 companies and 218 architects are registered in Nantes' area (352 companies and
1 167 architects in the Pays de la Loire Region).

Some large structures are located in Nantes: Forma 6, Tétrarc.

 92
Arts and antique market

The main market for arts and antique is located in Paris. Therefore, Nantes, like the
majority of the French provincial towns, does not play a substantial role in the
market. Around ten galleries, mainly exhibiting paintings and more recently
photographs, are present in Nantes. The Loire Atlantique Department counts 333
historical monuments and 12 museums.

Visual arts (painting, sculpture, photography)

Around 400 visual artists are working in Nantes' area but their living is very difficult.
Some of them participate in international biennales such as Fabrice Hybert, Pierric
Sorin, Philippe Cognée, Bruno Peinado.

Since 2007, "Estuaire", a contemporary arts biennale along the river Loire, connects
the cities of Nantes and Saint-Nazaire. Worldwide artists are given the opportunity
to create perennial artworks and installations exhibited during the 3 months of the
event (www.estuaire.info).

Crafts

Around 400 craftsmen work in Nantes' area: fashion and accessories, decoration,
tableware, making of instruments, etc.

In the Pays de la Loire Region, 304 companies are working in the shoes/leather and
clothes fields. They employ 11 800 workers.

Design

The Pays de la Loire Region, and particularly Nantes' area, counts numerous
designers working in the industrial sector, product design, graphics, home design,
shops design, fashion, etc.

For example, Coupechoux Group, joining 4 different entities, develops activities in all
branches of design. So it is one of the most important actors in this sector in the
Pays de la Loire Region. It is also present in Europe. The Group is also an important
patron for contemporary art.

Since 2006, the Pays de la Loire Region has launched a scheme called "Design'in Pays
de la Loire". The objective is to promote creation and innovation by the design near
the companies, researchers and public. (www.designin.paysdelaloire.fr)

Software, computer games and electronic publishing

Leisure software is under development in the Nantes's area. On the inititative of

Atlanpole and the Nantes Chamber of Commerce, several companies from this
sector re-grouped to form the “3D Innovation” cluster in 2008. The objective of this
cluster is to regroup the various talents and competencies of the companies
concerned in order to gain access to new markets. www.3Dinnovation.org.

Serious games are also part of the promising sectors developed in Nantes' area.
 93
Consumer electronics

A few ICT companies produce consumer electronics known internationally (Screen

Research for example).

Performing arts (theatre, music, dance)

Nantes counts 15 theatres and live performance venues, 20 live festivals,

internationally renowned, as well as a national orchestra, a national choreography
centre and an opera house and their own production team.

• Lieu Unique : contemporary arts and theatre venue (www.lelieuunique.com)

• La Folle Journée, classical music festival, exported to Bilbao, Tokyo and Rio de
Janeiro (www.follejournee.fr)
• Les Rendez-vous de l'Erdre : jazz festival (www.rendezvouserdre.com)
Nantes' area counts 17 theatrical companies, 4 street art companies, 8 dance
companies and 5 multi-field companies.

The Royal de Luxe company (street theatre) travels all around the world (www.royal-
de-luxe.com)

La Machine (François Delarozière) is at the same time creative spectacles and service
provider for the live performance. They recently produced shows in Liverpool and
Yokohama (www.lamachine.fr).

The young "Scène nantaise" is lively and present in the main European and
international contemporary music festivals (jazz, rock, hip hop, song): Orange
Blossom, Hocus Pocus, Smooth, etc.

The Olympic, which programs concerts opened to all styles of music and organizes
the Scopitone festival dedicated to electronic culture and digital arts, will move in
2010 to the Ile de Nantes with new facilities: La Fabrique. A large space will be
dedicated to emerging projects. (www.olympic.asso.fr)

Nantes Metropole also financed the construction of the Zenith in 2007, a major
concert hall attracting international performers (http://zenith-
nantesmetropole.com)

1 450 "intermittents" (non permanents) artists and technicians work in the

performing arts in the Loire Atlantique area.

91 companies work in the technical industry for perfoming arts, such as Melpomen.

Publishing

41 independent editors are present in Nantes's area.

"Les Utopiales" is an internationally renowned festival for science fiction

(www.utopiales.org).

Music edition

12 independent music editors are present in Nantes' area.

 94
2.8.4.3. R E S EA R C H & E DU C AT I O N E N V I R O N M EN T

University of Nantes
http://www.univ-nantes.fr
The University of Nantes was originally founded in 1460, but was abolished during
the French Revolution. It was reestablished in 1961. In 1970, under the 1968 law
reforming French education, the autonomous Université de Nantes was founded.
The university offers, among other fields, law, economics, business administration,
medicine, the sciences, pharmacy and liberal arts. Two-year courses are offered at
the Institute of Technology.

The Information and Communication Department of the university of Nantes offers

three courses: “licence” (Degree level equivalent), professional “licence” and
professional “master”.

The university of Nantes, Nantes’ school of art ERBAN and Nantes’school of

architecture ENSAN has created a specialized master called EDUS (Eco Design in Uses
and Services). This new master should be open in September 2009.

L’École de Design Nantes Atlantique

http://www.lecolededesign.com/

“L’École de design Nantes Atlantique” is a private higher education institution

founded in 1988 and managed by the Nantes Chamber of Commerce and Industry.
650 students are currently enrolled. The school is a member of the “Conférence des
Grandes Écoles” and of the Cumulus network (an international association of
universities and colleges of art, design and media, www.cumulusassociation.org ).
“L’École de design” has developed about 50 academic international partnerships.
Each year an average of 10 to 20 pupils win national and international design
awards. Graduates work for multi-national corporations (Lego, Kenwood, Décathlon,
Smoby, Seb, Maped, Aigle), as well as agencies or companies all over France. 2008
L'Ecole de Design opened an antenna in China.

It offers courses on B.A. and M.A. level, as well as vocational training, e.g. in Spatial
Design, Product design and Wood Building Systems for Housing and Industrial
Construction. Furthermore it offers courses in Interaction Design, aimed at
professionals in web-design.

École régionale des beaux-arts de Nantes (ERBAN)

http://www.erba-nantes.fr/

ERBAN, Nantes’ school of fine arts, is a higher education establishment renowned

both nationally and internationally, with 49 students in L1 (Year 1), 51 in L2 (Year 2),
48 in L3 (Year 3), 38 in M1 (Year 4) and 32 in M2 (Year 5) working towards
professions in contemporary art and visual design.

ERBAN is a cultural establishment of Nantes City Council, governed by The Ministry

of Culture and communication. Students can obtain two state diplomas: The DNAP
 95
(Diplôme National d’Art Plastiques) after three years of study and The DNSEP
(Diplôme National Supérieur d’Expression Plastiques) after five years of study.

ERBAN plays an important part in the cultural life of Nantes, running two galleries,
organizing an extensive programme of conferences, taking part in the Nantes - St
Nazaire Contemporary Art Estuary biennial, organizing since 2005 “Les Belles
Chaises”, an annual event dedicated to celebrating the amateur artist and has taken
part in numerous collaborations with Nantes’ cultural institutions (Musée des Beaux-
Arts, Le Lieu Unique, Cultural Center, Regional Foundation of Contemporary Art
FRAC, etc.).

Erban is member of the European League of Institutes of the Arts (ELIA) which is the
primary independent network organization of major arts education institutions and
universities. Autumn 2010, Nantes will welcome their 11th biennial conference
(www.elia-artschools.org).

École nationale supérieure d’architecture (ENSA NANTES)

http://www.nantes.archi.fr/

L’école nationale supérieure d'architecture de Nantes, architecture school of Nantes,

is a higher education and research public establishment governed by The Ministry of
Culture and communication.

It is one of 20 French schools that prepare students for the diploma of architect. It is
also, alone or in conjunction with the University, other 3rd cycle in the fields of naval
architecture and set design (DPEA), town planning (master) and architectural and
urban environments (master, doctorate).
This national school is located in Nantes, in the heart of the Region of Pays de la
Loire. It enjoys the dynamic cultural, economic and university of its region and
metropolitan location.

Sciencescom
http://www.sciencescom.org/

Created in 1984 at Nantes, France, Sciencescom offers courses in the field of

Communication and the Media education. Sciencescom offers courses that
correspond to the Bachelors-Masters-Doctorate reforms that are now European
norms. These courses are designed with an international outlook. A part of the
course work takes place in London, Cologne, Milan or Madrid, in the form of
seminars.

Audencia
http://www.audencia.com/

The business school was established in 1900 by the City of Nantes. Audencia was the
first business school in France to join the Global Compact, a UN initiative, which links
businesses, labour organizations and civil society Audencia is classified on a world
 96
level by The Financial Times and The Economist. It is accredited by the AACSB, the
Association of MBAs and EQUIS.

Audencia’s research focuses on three fields:

• Centre for financial and accounting performance

• Centre for consumer attitudes and marketing solutions
• Centre for organisations and value chain management
Furthermore it hosts two specific research institutes:

• Institute for Global Responsibility

• Institute for Entrepreneurship
Audencia offers a diploma specialized in Marketing, Design and Creation as well as a
diploma in Management of cultural institutions and multimedia industries.

2.8.4.4. S UP P O R T AND T R AN S F E R S T AK E HO L D ER S (S E L EC T I O N )

Nantes Création
http://www.nantescreation.fr

Nantes Création has been established as part of the Interreg IIIB NWE Project ECCE.
It offers entrepreneurship support and business consulting services for cultural
stakeholders.

Atlanpole
http://www.atlanpole.fr

Created in 1987, Atlanpole’s mission is to stimulate economic activity in the Loire

region. As the technopole for the area, Atlanpole seeks to link entrepreneurs and
researchers and thus to stimulate the establishment of innovative companies.

Maison de la Création
http://nantesstnazaire.cci.fr/CCI44/Page/Page~PUB_ID~1512~PUB_VERSION~13.asp
x

The Maison de la Création assembles different organizations, supporting business

creation and helping entrepreneurs set up their business. Professional experts such
as lawyers, bankers, financial experts and accountants provide these services to
entrepreneurs.
 97

2.9. S TUTTGART C ITY P ROFILE

2.9.1. I NTRODUCTION
Overview

Further Economic
Sectors

Finance
Stuttgart
Software/ IT

CULTURAL INDUSTRIES
Aerospace

Architecture
Performing Arts
Audiovisual High Tech
CORE ARTS FIELDS Industry /
Games
Engineering

Advertising
Publishing
Design
ICT
New Media

CREATIVE INDUSTRIES AND

ACTIVITIES Automotive

Stuttgart is the capital of the state of Baden-Württemberg, situated in the southwest

of Germany. It is Germany’s sixth-largest city with a population of 590,497. It is
surrounded by a ring of smaller town which form together with Stuttgart a larger
metropolitan region with a population of 2.7 million (2008).

Stuttgart and its surrounding region are one of the highest performing regions in
Europe, strong in research and economic performance. It is considered “the cradle of
the automobile” due to Gottlieb Daimler’s invention of the first car in Stuttgart’s city
th
district Bad Canstatt at the end of the 19 century. Stuttgart is still a major industrial
town relying heavily on manufacturing within the automotive industry but also on
related R&D.

Consequently, unemployment in Stuttgart and the surrounding region is low

compared to other metropolitan areas in Germany. Stuttgart is also a diverse city
with its citizens coming from over 170 countries and ranks as one of the safest cities
in Germany.

The current political priorities of the City of Stuttgart lie on the following pillars:

• Child-friendly Stuttgart: Stuttgart has the aim to become the most child-
friendly city in Germany.
• Integration policy: The city aims to encourage the involvement of all its
residents in the process of shaping Stuttgart as an international and diverse
city
 98
• Environmental and climate protection: Stuttgart is working towards the
sustained development of the city based on the principle of "inner
development before outer development".
• Demographic Change: In Stuttgart a number of programs are concerned
with the challenges of the demographic transforrmation of the society.
• Mobility

ECONOMY

Stuttgart and its surrounding region is known for its high-tech industry. Some of the
most prominent companies include Daimler AG, Porsche, Bosch, Celesio, Hewlett-
Packard and IBM -- all of whom have their world or German headquarters in
Stuttgart.

Consequently, almost 24% of all employees in the Stuttgart region work in the high
tech sector – the highest rate in all of Europe, according to Eurostat, the statistical
office of the European Union.

Stuttgart – being the “cradle of the automobile” – builds even nowadays heavily on
the automotive sector. Mercedes-Benz, Porsche and Maybach are all produced in
Stuttgart. Likewise, the automotive parts supply industry is heavily concentrated
here – with giants such as Bosch or Mahle.

Apart from such global players there are also still hundreds of SMEs based in
Stuttgart, many still in family ownership with strong ties to the automotive,
electronics, engineering and high-tech industry. However, this industry structure
which builds on manufacturing and the automotive sector is also espacially
vulnerable to economic downturns such as in the current financial crisis.

Another significant strengths of the City’s economy lies in the Information and
Communication Technology sector.

INTERNATIONAL NETWORKS

Stuttgart is an international city – not only in terms of citizens with an international

background – but also in terms of its international engagement.

The City itself is an active member of several European and global networks that deal
with the City’s political priorities, e.g.:

• Cities for Children: This European city network is seeking to promote a

family- and child-friendly urban environment.
• Cities for Mobility: "Cities for Mobility" is a global city network tackling
questions related to urban transport.
• Cities for Local Integration Policy: This network seeks to create an inventory
of European practices in local integration policy.
Stuttgart is also an active member of the global association “United Cities and Local
Governments” (UCLG) since its inception in 2004.
 99
Apart from that, the City of Stuttgart is also very active in European projects, e.g. on
environmental affairs or City District Management.

Finally, the City of Stuttgart has twinning agreements with the following cities:

• Mumbai (India)
• Cairo (Egypt)
• St. Helens (UK)
• Cardiff (UK)
• Strasbourg (France)
• Brno (Czech Republic)
• St. Louis (USA)
• Lodz (Poland)
• Samara (Russia)
• Menzel Bourguiba (Tunisia)

2.9.2. M AIN INDUSTRIES

The following main industries have a significant concentration in the City of Stuttgart:

Automotive

Stuttgart is a leading automobile location. Its automotive cluster is composed of

many large and medium-sized companies across the whole value chain of car
production, including a number of world market leaders from the auto supply
industry. The automotive industry as locational factor is most evident through the
headquarters of Daimler and Porsche as well as Bosch. Other important companies
from the supply sector include Mahle, Mann + Hummel, Behr and others.

Aerospace

The strength in the automotive and engineering sector has also led to a leading
position in the aerospace industry. Here, Stuttgart is particularly strong in education
and research with the University of Stuttgart as the leading university in the field of
aerospace. Likewise, numerous research centres are located in the city. Aerospace
companies such as Tesat-Spacecom, Fichtner or Thales ATM are also seated in
Stuttgart.

Engineering

Stuttgart is strong in the fields of electronics, electronic technology and mechanical

engineering. Companies that produce machine tools, industrial laser, high-
performance electronics, medical engineering and environmental engineering are
situated in the city.

Finance

Stuttgart is one of the most important financial centers in Germany after Frankfurt
with more than 100 banking institutions headquartered in Stuttgart: in addition to
Germany's largest Federal State Bank, a number of other major institutions (insurers
and building societies in particular. E.g. Allianz Lebensversicherungs-AG, LBS Baden-
Württemberg, Wüstenrot & Württembergische, SV-Versicherung). Stuttgart is also
home to Germany's second largest stock exchange, the Stuttgarter Börse.
 100
Furthermore, Stuttgart is involved in the fast growing leasing market. 5.2 per cent of
all employment within Stuttgart was provided by the financial services sector (over
50,000 people).

Information Technology

Stuttgart is one of the most important sites for Information Technology business in
Germany and Europe. The German headquarters of IBM and Hewlett Packard are
located here. Also, corporate research plays a dominant role with the IBM
Development Centre and Red Hat Development Centre located in Stuttgart.

2.9.3. R ESEARCH L ANDSCAPE (+ STAKEHOLDERS )

The City of Stuttgart has Germany's highest density of scientific, academic and
research organisations. 45% of the R&D capacity of the state of Baden-Württemberg
is concentrated in the Stuttgart region. In line with this, no other region in Germany
registers as many patents and designs as Stuttgart.

The high amount of R&D activities in the region is largely due to industrial research
done by the companies in the city. Particular research strenghts lie in the fields of
mobility and automotive, engineering, laser technology, development of new basic
materials, environmental engineering and energy management, information and
communication technology, software development and aerospace.

Universität Stuttgart
http://www.uni-stuttgart.de

Founded in 1829, this former technical university has developed into a research-
intensive university focusing primarily on engineering and the natural sciences but
with extremely close ties to the humanities and social sciences.

The research activities of the University of Stuttgart mainly focus on eight key
interdisciplinary areas. These include the areas 'modeling and simulation
technologies', 'new materials', 'complex systems and communications', 'technology
concepts and technology assessment', 'sustainable energy supplies and the
environment', 'mobility', 'integrated product and production engineering' as well as
the 'design and technology of sustainable habitats'.

Around 20,000 students are enrolled in the University's 150 institutes and ten
departments. Every year 1700 students graduate from the university to start their
professional life. The range of courses on offer includes 56 undergraduate and 20
advanced study courses.

Universität Hohenheim
http://www.uni-hohenheim.de

The University of Hohenheim can look back on the oldest university tradition of all
the educational institutions in the State Capital of Baden-Württemberg. Its history
goes back to its foundation in 1818 by the Royal House of Württemberg.
 101
Today, the motto of its degree programs and service facilities is innovation and
internationality. The range of subjects spans the natural sciences, the agricultural
sciences to the social sciences and economics. The department of agricultural
sciences is considered the top department for agronomy in Germany.

Max Planck Institutes

http://www.fkf.mpg.de
http://www.mf.mpg.de

The Max Planck institutes are non-profit research organisations undertaking basic
research in the natural, life, humanities and social sciences. For this purpose they
cooperate closely with the universities, but in doing so retain their independence.
There are two MPG institutions in Stuttgart: the Max Planck Institute for Metal
Research and the Max Planck Institute for Solid State research.

Institutes of the Fraunhofer Gesellschaft

The Fraunhofer Gesellschaft is Europe’s largest organisation for applied research.

There are five institutes of the Fraunhofer Gesellschaft located in Stuttgart:

• Fraunhofer Information Center for Planning and Building

http://www.irb.fraunhofer.de
• Fraunhofer-Institut für Arbeitswirtschaft und Organisation (IAO)
http://www.iao.fhg.de
• Fraunhofer Institute for Building Physics
http://www.ibp.fhg.de
• Fraunhofer Institute for Interfacial Engineering and Biotechnology IGB
http://www.igb.fraunhofer.de
• Fraunhofer Institute for Manufacturing Engineering and Automation IPA
http://www.ipa.fhg.de

German Aerospace Center (DLR)

The German Aerospace Center (DLR) deals with the sectors aerospace industry,
energy and traffic in the five Stuttgart based research institutions. It is situated on
the campus of the University of Stuttgart and cooperates closely with the University
in terms of education and research. The following institutes exist:

• Institute of Structures and Design – developing light-weight structures for the

aerospacve industry
http://www.dlr.de/bk/en/desktopdefault.aspx
• Institute of Vehicle Concepts – developing future vehicle generations for road
and rail
http://www.dlr.de/fk/en/desktopdefault.aspx
• Institute of Technical Physics – exploring selected fields of optics and photonics
http://www.dlr.de/tp/en/desktopdefault.aspx
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• Institute of Technical Thermodynamics – concentrating on solar and fuel cell
research
http://www.dlr.de/tt/en/desktopdefault.aspx
• Institute of Combustion Technology – researching more efficient combustion
technologies
http://www.dlr.de/vt/en/desktopdefault.aspx

Steinbeis-Europa-Zentrum
http://www.steinbeis-europa.de

SEZ (Steinbeis-Europa-Zentrum) was founded in 1990. Its activites are supported by

the Enterprise Europe Network. SEZ's core activity is to promote European RTD
programmes and to support cross-border technology transfer. It offers consultancy
regarding: European Funding and Research Programmes, Technology Cooperation,
Regional Strategies and Innovation, Participation at and organisation of Brokerage
Events, Company Missions and Information Days as well as Trainings.

2.9.4. ECCE C REAT IVE S ECTOR P ROFILE

2.9.4.1. D E FI N I T I O N C R E AT I V E I N DU ST R I ES
There are several definitions for the Creative Industries used in Baden-Württemberg,
all of them differing slightly. The City of Stuttgart understands the following sectors
as part of the Creative Industries in the State Capital and has proposed this also to
the City Council: Architecture, Design & Photography, Event-Management, Film and
Broadcasting, IT, Advertising/PR/Journalism, Music Industry, Publishing.

2.9.4.2. B U SI N ES S L A N D SC AP E
The Creative Industries in the City of Stuttgart display a diverse mix of companies
and industry structure. The specific profile of Stuttgart’s Creative Industries displays
a focus on technology-related creative sectors as well as services to other industries.
It is rather a B2B Creative Sector than an entertainment sector. Strenghts lie
therefore in the fields of design, publishing, architecture, software and animation
media.

In a 2006 survey among Stuttgart’s creative companies, the interviewed positively

assessed the closeness to customers, suppliers, universities and research
establishments as well as the possibilities for cooperation with other businesses. The
qualification and availability of personnel as well as transport connections were also
rated positively. What was pointed out in particular by the creative industry was the
variety of choice regarding leisure, culture and gastronomy.

No numbers about the size of the Creative Industries in Stuttgart exist so far in terms
of number of companies and employees in the sector.
 103
Stuttgart’s strengths in the Creative Industries are further elaborated in the
following:

Audiovisual industries and Animation Media

Stuttgart is the seat of SWR, Germany’s third largest broadcasting corporation. TV

production companies focus on TV series, documentations, docu-soaps, advertising,
event and corporate films. Stuttgart is particularly strong in the areas of animation
and visual effects. The annual fmx – Conference on Animation, Effects, Realtime and
Content – is a place for artists and producers, decision makers and startups, creative
talent, managers, film distributors and TV people to meet. The conference is closely
linked to the “Internationales Trickfilm-Festival Stuttgart” (ITFS), the second largest
animation festival in the world with approximately 500 outstanding movies in the
competition.

Design

Stuttgart has a long history of the Design industry, largely due to the strong
companies seated in Stuttgart and its region that have a need for product design,
corporate design or packaging design. The switch to the digital economy has also led
to many information design companies and multimedia designers. But Stuttgart has
also renowned training institutions in the design field such as Merz Akademie.

Publishing

The publishing and printing industry in Stuttgart forms a strong cluster with close to
400 companies. There are major publishing houses and niche publishers, rarities and
high volume printing, traditional print shops and printing specialists. Traditional
publishing houses such as Reader’s Digest, Reclam and Klett are located in Stuttgart
as well as smaller specialist publishers and scientific publishers such as Kohlhammer
or Thieme.

Architecture

Stuttgart has several large, reputable architecture firms and world renowned civil
engineers such as Werner Sobek or Behnisch Architekten but also lots of smaller
architectural companies. Often they have found their niche in the border areas
between architecture and design. As one of Germany’s most renowned faculties
since the end of the Second World War, the architectural department of the
University of Stuttgart has had major influence on the architectural scene.

Software and IT

Stuttgart is a strong location for IT. This is largely due to big corporations such as
Alcatel, Debitel, Hewlett-Packard, IBM and Versatel. But it is also the many small and
medium-sized enterprises, capable of recognizing and facilitating important trends
such as Open Source and Virtual Reality, that contribute to the development of the
IT location. Two universities and nine advanced technical colleges ensure brilliant
education.
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2.9.4.3. R E S EA R C H & E DU C AT I O N E N V I R O N M EN T

Stuttgart Media University – Hochschule der Medien

http://www.hdm-stuttgart.de

The Stuttgart Media University (HdM) provides media training to both specialists and
generalists. It offers 14 bachelor and seven master study programs. The courses on
offer range from print, audiovisual media, informatics and information technology to
advertising, media production and media studies. Currently around 3200 students
are enrolled at the HdM. Graduates from HdM work in the print and packaging
industries, in publishing companies and IT companies, in advertising and production
facilities for electronic and audiovisual media, in libraries and information facilities.

Merz Akademie
http://www.merz-akademie.de

The Merz Academy is a renowned training institution in the field of design.

Additional study courses exist in 'Film and Video', 'Interface Design' and 'Visual
Communication' which offer an innovative combination of theory, art and
technology, allowing students to transform what they have learned into innovative
media projects outside hegemonic trends and create the potential for change. The
bachelor program 'Design, Art and Media' takes seven semesters. The intention is
that students will combine their social, cultural, philosophical and scientific interests
with their design course.

Macromedia University of Applied Sciences for Media and Communication

http://www.macromedia-fachhochschule.de/hochschule/standorte/campus-
stuttgart.html
The Macromedia University of Applied Sciences for Media and Communication offers
students a highly practical course of study in one of the German media cities
Stuttgart, Hamburg, Munich and Cologne. With close links to the media sector near
the respective campuses, the state-approved private university of applied sciences
trains the media representatives of tomorrow.

Fraunhofer Institut IAO

http://www.iao.fhg.de/

The activities of the Fraunhofer Institute for Industrial Engineering IAO focus on
investigation of current topics in the field of technology management. A holistic
approach is applied to the study of commercial success, employees' interests and
social consequences. The Institute helps companies to identify the technologies of
relevance to them, and draws up a technology strategy aligned to the competitive
environment and the market. It plans the deployment of technology for the entire
enterprise, in the business sectors and in individual projects.
 105
media GmbH - Bildungszentrum Stuttgart
www.media-gmbh.de

media GmbH was founded in 1993 and is an officially recognized education and
further training institution with the focus on Digital Media, Advertising and TV
production. It offers a Bachelor degree and is very active in international student
mobility programs.

Staatliche Akademie der Bildenden Künste - State Academy of Art and Design

http://www.abk-stuttgart.de

The Stuttgart State Academy of Art and Design with its almost 250-year history is
one of the biggest art schools in Germany. With 15 degree programs, taught in the
Departments of Art, Architecture, Design and Science, it offers 800 students a wide
choice of research and training courses.

Staatliche Hochschule für Musik und Darstellende Kunst - State University of Music
and the Performing Arts
http://www.mh-stuttgart.de

Founded in 1857, the State University of Music celebrated its 150th anniversary in
2007, making it the oldest such institution in Baden-Württemberg. 50 students from
42 nations are taught by 178 professors, lecturers and teaching assistants.

Staatliche Modeschule Stuttgart – Fashion School Stuttgart

http://www.modeschule-stuttgart.de

The Fashion School Stuttgart was founded in 1953 and aims at training future
designers in the fashion industry on an international level. Other job opportunities
for graduates lie in Fashion Journalism, Film and Theatre, or Advertising.

Universität Hohenheim
http://www.uni-hohenheim.de

The University of Hohenheim offers a renowned study course in Communication

Management, both BA and MA level.

Universität Stuttgart
http://www.simtech.uni-stuttgart.de

The University of Stuttgart is home to a research cluster of excellence in the field of

“Simulation Technology”, supported by the Federal Ministry of Education and
Research. This also includes research areas relevant to the Creative Industries, such
as Interactive Visualisation.
 106
2.9.4.4. S UP P O R T AND T R AN S F E R S T AK E HO L D ER S (S E L EC T I O N )

aed Stuttgart e.V.

http://www.aed-stuttgart.de

aed Stuttgart is an Association for the Advancement of Architecture, Engineering and

Design. Its aim is to support the design sector in Stuttgart, support young creators
and foster dialogue between design and industry.

Baden-Württemberg Connected (bwcon)

http://www.bwcon.de

Baden-Württemberg: Connected (bwcon) is a business initiative for innovation and

technology in Baden-Württemberg. Its members are 400 companies with close to
4,000 employees in total. It promotes innovation and sustainable growth in the
areas of ICT, life sciences/health and the creative industries, and especially in the
convergence of these fields. It also runs a business plan award for successful high-
tech start-ups, the so-called “CyberOne”.

Baden-Württemberg International (bw-i)

http://www.bw-i.de

Baden-Württemberg International’s activities include initiating international

cooperation through programs aimed at penetrating key markets across the globe. It
deals with business, education, research and culture. In addition, bw-i offers advice
and assistance for foreign companies looking to invest in Baden-Württemberg.

City of Stuttgart – Economic Development Department

http://www.stuttgart.de/kreativwirtschaft

The City of Stuttgart’s own Economic Development Department has a dedicated

section for creative industries support, established in 2008. It offers advice for young
entrepreneurs in the creative field, fosters networking of creative companies with
established companies and is also active in marketing Stuttgart as a Creative City. In
the scope of the ECCE INNOVATION project this department also takes over the
Transfer Agent role.

Design Center Stuttgart

http://www.design-center.de

The Design Center Stuttgart is run by the state of Baden-Württemberg and provides
information and advice about professional design. The Design Center especially
offers small and medium-sized enterprises guidance on current design topics. The
Design Center Stuttgart offers companies and creative service providers a platform
for making contacts and networking.
 107

Film Commission Region Stuttgart

http://film.region-stuttgart.de

The Film Commission Region Stuttgart offers individual consulting and detailed
information on filming locations, filming permits as well as about artistic and
technical professionals and young talents from the region.

ifex - Initiative for Start-ups and Business Transfer

http://www.ifex.de

“ifex” is located within the Ministry of Economics of Baden-Württemberg. Its aim is

promoting business start-ups and securing business succession of small and
medium-sized enterprises. ifex initiates campaigns and competitions, new
promotional approaches and concerted actions throughout Baden-Württemberg.
ifex also promotes information, training, advice and coaching.

Landesanstalt für Kommunikation Baden-Württemberg

www.lfk.de

The LFK is the Media Authority of Baden-Württemberg. It is responsible for the

licensing and supervision of private radio stations and TV channels. The LFK plays an
active role in media pedagogy and initiates research projects. It organizes
conferences and issues papers, studies and flyers on a wide range of media topics.

Media Entrepreneur Centre Stuttgart

www.mec-stuttgart.com

The Media Entrepreneur Centre Stuttgart is closely linked to Stuttgart Media

University and provides consulting and start-up support as well as further education
services. It offers PR and communication services to SMEs and is also involved in
research projects.

Medieninitiative Region Stuttgart

medien.region-stuttgart.de

Medieninitiative Region Stuttgart is one of the oldest creative industries networks in

Germany, initiated in 1995. Today, the network has around 450 members from
Stuttgart and the surrounding region, covering all creative fields from publishing over
design and advertising to film, architecture and music. Medieninitiative Region
Stuttgart is active through information services, networking events and marketing of
the region.
 108
MFG Medien- und Filmgesellschaft Baden-Württemberg mbH
www.mfg-innovation.eu

MFG Baden-Württemberg is both a film funding organization as well as innovation

agency for the Creative Industries in Baden-Württemberg, focusing on information
technology, software, telecommunication and media. It is involved in location
marketing and cluster building.

Popbüro Region Stuttgart

http://www.popbuero.de

“Popbüro Region Stuttgart” promotes popular music at the point where business,
culture and young people meet. Its primary concern is to support pop culture in
general as well as artists, young talents, concert agencies and all kinds of other new
music businesses - mostly in the area of marketing and distribution. New business
models, young musicians and music entrepreneurs are the ones who benefit from
Popbüro Region Stuttgart. Coaching for all music- and branch-related questions is
offered directly by Popbüro. In collaboration with the Pop Academy Baden-
Württemberg, Popbüro also offers further education like workshops and lectures
with branch specialists and musicians.
 109

PART 3:
IDENTIFICATION OF
INNOVATION
OPPORTUNITIES
 110

3.1 I NTRODUCTION

The Interreg IVB NWE Project ECCE Innovation aims to foster the innovation
capability of the creative industries by promoting intra- and inter-city partnerships

• between creative businesses and companies

• between creative and “non-creative” businesses (i.e. businesses from other
industry sectors)
• between industry and academia
• between industry and society
In the following part, we will therefore look at complementarities and synergies
between and within participating ECCE partner cities.

Based on the results of the city profiles, we will identify promising fields of
cooperation 1) within ECCE partner cities, i.e. between creative and “non-creative”
sectors or between business and academia and 2) between ECCE partner cities.

Part III of this mapping study therefore analyses the potential for collaboration both
on an intra-city level as well as on an overarching inter-city level between the
partners of the ECCE INNOVATION project. It does so in three steps:

1. Summarise City profiles

2. Give a collaboration profile per city
3. Showcase potential for partnerships between cities

3.2 O VERVIEW : C ITY P ROFILES

The following table summarises the economic and creative sector strengths of each
ECCE INNOVATION partner city and lists the political priorities:

City Economic Sector Creative Sector Political Priorities

Strengths Strengths
Aachen
Electronics Design Cross-Border
Cooperation
Health & medical Architecture
industry Fight Brain Drain
Fine Arts
New Materials Family-
Publishing Friendliness
Automotive
(supply industry) Diversity

Food & Drink Support Start-Ups

ICT (research Science and

spin-offs) Technology
Region
 111
Engineering
(related to
R&D
infrastructure)

Energy

Birmingham
Financial Services Contemporary Environment
& Insurance design led
products industry Economy
ICT (Jewellry,
Ceramics, Glass, Health
Medical Leather Goods
Technology etc.) Science

Transport Architecture Transportation

Technology
Software, Games Digital Media
Consumer
Products

Tourism

Cardiff
Financial and Film & Cross-Border
Business Services Audiovisual Cooperation
industry
Bioscience & Connectivity
Pharmaceuticals Media, Journalism
Attaining higher
ICT New Media, Skills and
Games, Software Qualifications
Leisure & Tourism
Design Attract Quality
Employment

Growth of
Business

Doncaster
Business, Performing Arts Develop a highly
Financial & qualified
Professional Animation and workforce
Services Simulation
Develop a diverse,
Construction Fine Arts knowledge
intensive and
Hospitality, Music innovative
Leisure and industry base
tourism

Manufacturing Achieve city

status

Tackle
worklessness
 112
Dublin
Pharmaceutics Design Cross-Border
Cooperation
ICT Digital Media
City-Region-Links
Financial Services Software, games,
electronic Familiy-
Tourism publishing friendliness

Crafts Communication Health

and Media
Mobility
Animation
Safety
Mobile
Applications Diversity and
Integration

Quality of Life

Eindhoven
Electronics Design Cross-Border
Industry Cooperation
Audiovisual
Medical City-Region-Links
Technologies

Chip Technologies

Light and Laser

Technologies

Nantes
Finance & Advertising Mobility
Insurance Sector
Communication Sustainable
Business Development
Consulting Media
International
Ship-Building Architecture Competitiveness

Aeronautics Visual Arts Education

ICT Design

Biotechnology Performing Arts

Materials/
Mechanis

Agri-Food
Industry
 113

Stuttgart
Automotive Design Mobility

Aerospace Architecture Diversity &

Integration
Engineering Animation Media
Demographic
Financial Services Software, Change
Multimedia
ICT Child-friendliness
Publishing
Leisure & Tourism City-Region-Links
Pop Music

3.3. C OLLABORATION O PPORTUNITIES PER C ITY

The following tables analyse each city according to four categories:

1. Strengths of the City

2. Weaknesses of the City
3. Potential for inner-city cooperation: based on the city profiles there appear
to be certain cross-sectoral connections in each city that are promising for
fostering innovation in and with Creative Industries
4. Transfer: Signposts – Projects – Best Practices: based on the profiles each
city has promising initiatives, institutions or projects that can serve as Best
Practice for other cities of the ECCE INNOVATION project.
 114
3.2.1 A A C H EN

Strengths Weaknesses

• Strong Research University (RWTH) • Clusters do not span the full value
with excellent reputation chain

• Cross-Border Region with Belgium • Limited research facilities in

and the Netherlands Creative Industries

• University generates considerable • Suffering from structural change:

amount of spin-offs new companies cannot make up
for the loss of jobs

• Brain Drain of qualified graduates

Potential for inner-city cooperation

ICT & Architecture/Design

• ICT based tools to promote collaborative interaction design communities (e.g.

Web 3D technology)

• improve prototyping via visualization and animation technologies or haptic

technologies

• Visualisation in architecture: A4D systems, for instance, are based on the

general adoption of multidimensional

• information exchange and visualisation in the life-cycle of architecture and

building construction, within an e-work cooperative and interactive
environment, establishing the fusion between the real and the virtual design
and construction site workspaces (cp. Create Report)

New Materials & Design

• Networking initiatives

• Project-based collaboration

Transfer: Signpost – Projects – Best Practices

• Master in Crafts design / Gut Rosenberg

• Institute for Research in Textiles

• Gründerzentrum Kulturwirtschaft
 115
3.2.2 B I R MI N GH A M

Strengths Weaknesses

• Positive trend of Birminghams • Too strong focus on the finance

economy and employment
• Large metropolitan area
• Britain’s fourth-most visited city by
foreign visitors: attractive tourist
location
• Change from manufacturing to
service-based industry successful
sector
• Uneven benefits of economic
growth: commuters receiving more
benefits
• High unemployment rate in inner-
city Birmingham

• Strong research capacity in the • Educational qualifications of the

region workforce below national average

• Science as political priority • Minority groups underrepresented

in higher-skilled jobs

Potential for inner-city cooperation

1. Networking & project based collaboration Software/ICT and Design-led

products industry (business models, ICT-based design and prototyping etc.)

2. Stronger links between Tourism and Creative Industries (e.g. architecture,

design)

3. Stronger links between the ICT/Digital Media field and the Music sector

Transfer: Signpost – Projects – Best Practices

• BIAD: Designer-Makers

• Tic

• Degree Course in Music Technology (Newman Conservatoire)

• Centre for Research into Composition and Performance using Technology

• Creative Arts Research Group

• Digital Home Experience Centre

• iCentrum

• Digital Birmingham
 116
3.2.3 C A R DI F F

Strengths Weaknesses

• Cultural and economic center of • City vulnerable because of strong

Wales
• Strong political commitment to
Creative Industries
• Financing instruments for Creative
Industries in place
• Growing population
• Significant tourism destination
focus on Financial & Business
Services
• Focus of Creative Sectors
unbalanced – too strong on AV
industry
• Links between traditional
industries and design industries are
missing

Potential for inner-city cooperation

1. Stronger links between Tourism & Film/Audiovisual industry

2. Develop cluster for Corporate Film, e.g. together with

pharmaceutical/bioscience sector

3. Bring together ICT research and AV industry, e.g. for IPTV and Digital Cinema
research

Transfer: Signpost – Projects – Best Practices

• University of Glamorgan – School of Creative Industries

• BLOC

• Wales Creative IP Fund

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3.2.4 D O N CA ST E R

Strengths Weaknesses

• Creative Industries can play a • Weak technology and innovation

significant role in urban regeneration sector

• Creativity and learning across all • Lack of large corporations

ages as political priority
• Worklessnes as a challenge
• Hub of a significant transport
• Low capital investment
network in the UK (plane, train, car)
• Lack of aspirations among younger
• Excellent connectivity with other
people
metropolitan areas
• Unskilled workforce as a problem

Potential for inner-city cooperation

1. Network Simulation & Animation experts with Centre for Food Automation for
process optimization

2. Use skills of creative companies to reach out to the younger people, leverage
inclusion and create aspirations

Transfer: Signpost – Projects – Best Practices

• Innovation voucher scheme

• Digital Knowledge Exchange (DK Exchange)

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3.2.5 D U B LI N

Strengths Weaknesses

• Capital of Ireland, engine of the Irish • Economic Growth is expected to

economy slow down in coming years

• At the heart of a city-region • Too much reliance on Foreign

Direct Investment
• Headquarters of global players in
Dublin • Weak indigenous SME structure in
the ICT sector
• Attractive tourism destination

• Very strong services sector

• Strong ICT and pharmaceuticals

sector

• Strong international linkages

• Many research institutions

• Strong cultural scene

Potential for Inner – city cooperation

1. Develop creative tourism further, e.g. through mobile applications and

architecture

2. Mixed cluster development: ICT and Architecture cluster

3. Develop Serious Games sector for application e.g. in the pharmaceuticals or

banking sector (training for highly risky sectors)

Transfer: Signpost – Projects – Best Practices

• The Digital Hub

• IADT School of Creative Technologies

• Degree programme in Culinary Arts at Dublin Institute of Technology

• Digital Media Forum

• Graduate School of Creative Arts and Media (GradCAM)

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3.2.6 E I N DH O V EN

Strengths Weaknesses

• Design Industry is recognized as a • Other economic sectors apart from

major locational factor Design are not very developed

• Cross-border region with Germany • Manufacturing heritage not fully

and the Netherlands recovered by services sector yet

• Heart of a city-region

• University with a strong reputation

in the technological field (Eindhoven
University of Technology)

• Strong research landscape, strong

high-technology landscape

Potential for Inner – city cooperation

1. 3-D-Design projects with TomTom navigators

2. Explore laser & light technologies for creative tourism

3. Develop design projects for medical technologies and ageing societies

Transfer: Signpost – Projects – Best Practices

• Master of Technological Design (Stan Ackermans Institute of Eindhoven

University of Technology)

• Technostars fund
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3.2.7 N AN T E S

Strengths Weaknesses
• Capital of the Pays-de-la-Loire region • Limited research facilities in the
field at present
• Young population
• Lack of cross-sectoral projects
• Heart of a metropolitan
agglomeration

• Culture recognized as tool for urban

regeneration

• Strong services sector

• Strong international engagement

• Dedicated cluster policy, also in the

creative field

• Diversified creative sectors and

actors

• Support of the Pays de la Loire

Region to the design, music and
crafts sectors

Potential for Inner – city cooperation

1. Build partnerships for creative tourism

2. Develop a profile as competence site for finance communication consulting

3. Foster innovative fields of employment for visual artists e.g. with Ship-Yards

4. Support to collaborative projects to develop news uses and services in a

sustainable way

Transfer: Signpost – Projects – Best Practices

• “Quartier de la Création”

• Cluster “Images et Reseaux”

• Master programme EDUS (Eco Design in Uses and Services) at Université de

Nantes
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3.2.8 S T UT T G AR T

Strengths Weaknesses
• Strong industrial heritage, many • Too strong reliance on automotive
headquarters of global players sector as engine of growth
seated here, strong SMEs
• Lack of a creative reputation
• Many R&D institutions in place
• Underdeveloped services sector
• Capital of a German state
• Not enough employment
• Diversified creative sector opportunities for graduates in a
creative field
• Major cultural institutions and
famous museums (e.g. State Gallery,
Mercedes Museum, Porsche
Museum)

• Destination for tourism

• Strong international engagement

Potential for inner-city cooperation

1. Develop creative tourism e.g. through digital media and mobile applications

2. Highlight benefit of creative industries and migrant economies for integration

policy

3. Develop serious games sector e.g. for banking and finance training

4. Implement 3-D design into Urban Planning

Transfer: Signpost – Projects – Best Practices

• Popbüro Region Stuttgart

•
st
Design 1 consulting of Design Centre Stuttgarft

• BA programme “Design, Arts and Media” at Merz-Akademie

• Media Entrepreneur Center at Stuttgart Media University

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3.3 S UGGESTIONS FOR I NTER -C ITY C OOPERATION

Based on the city profiles and the mapping of traditional industries and the creative
sector in each city the following areas and issues of potential inter-city cooperation
for innovation through Creative Industries within the ECCE INNOVATION project have
been identified:

1. Enhancing the innovation potential in certain creative fields

• Fostering Music & ICT connections

• Innovative use of Digital Media & Mobile Applications
• Matching Perception Research and User-Interface Design

2. Applying creative expertise to other industries for innovation

• Matching design, crafts and design-led products industry for intelligent products
• Design for Demographic Change: Design in Health and Medicine
• Serious Games: Games as learning and training tool
• Creative Industries in Support of Mobility and Transportation

3. Enhancing the attractiveness of cities through Creative Industries

• Creative Industries for Leisure and Tourism

• Curriculum Development on the topic of City Planning and Creative Industries
• Building on ethnic diversity for Creative Industries
• Fighting Brain Drain of the Creative Class

4. Building support structures for Creative Industries

• Exchange of Design Centres

• Innovative Financing for Creative Industries
• Environments for Creative Industries Innovation (Incubators – Start-Ups)
• Developing a local hub for the Animation and Games Industry
• Cross-border-cooperation for cultural and creative industries
 123

Birmingham

Eindhoven
Doncaster

Stuttgart
Aachen

Nantes
Cardiff

Dublin
Cooperation field Comments

1. Enhancing the innovation potential in certain creative fields

All cities have
strong music
Fostering Music education
& ICT


institutions and
connections deal with using
technologies for
music
Mobile
applications are
one of the most
promising
Innovative use of
growth fields
Digital Media &





and rely on
Mobile
both
Applications
technological
development
and innovative
business models
Strong regional
Matching competence in
Perception User-Interface
Research and

Design:
User-Interface Stuttgart (FhG-
Design IAO) –
Eindhoven (IPO)
 124

2. Applying creative expertise to other industries for innovation

All cities have

Matching design, expertise in
crafts and design- product design
led products and its






industy for connections to
intelligent either crafts or
products high-
technology.
All cities have a
connection to
design,
demographic
Design for change, health
Demographic and medical
Change: Design in




technologies
Health and and could foster
Medicine Creative
Industries-led
innovation in
this growth
segment
Connections to
Serious Games: CREATE project
Games as (Advantage



learning and West-Midlands,
training tool MFG Baden-
Württemberg)
Technologies
for mobility are
crucial to these
cities; all have
strong
automotive
Creative
industry or are
Industries in
mobility hubs;
Support of





collaboration
Mobility and
between design
Transportation
and advertising
for
transportation
technology
could be a field
of innovation
 125

3. Enhancing the attractiveness of cities through Creative Industries

All cities are

either attractive
Creative
tourist locations
Industries for





or already
Leisure and
incorporate
Tourism
creative tourism
strategies
All have
relevant urban
Curriculum planning
Development on departments;
the topic of City also connection






Planning and to project
Creative MANDIE
Industries (Eindhoven,
Stuttgart)
possible
All cities have
made ethnic
diversity and
integration
Building on
policy a priority,
ethnic diversity






some even
for Creative
already look at
Industries
it from the
angle of the
creative
industries.
All cities offer
more highly-
qualified
graduates than
high-quality
Fighting Brain
jobs; (policy)
Drain of the




measures to
Creative Class
keep highly-
qualified
graduates in the
region could be
exchanged
 126

4. Building support structures for Creative Industries

All have
dedicated
Exchange of Design centres





Design Centres which face
similar
challenges
All cities and
regions have
Innovative installed
Financing for dedicated funds



Creative and financing
Industries instruments for
the Creative
Industries
All cities are
concerned with
Environments for creating
Creative supportive
Industries environments









Innovation for Creative
(Incubators – Companies and
Start-Ups) fostering their
innovation
potential.
Games and
Animation
Developing a Media are
local hub for the strong in all






Animation and cities, however,
Games Industry in different
stages of
development.
All are situated
within cross-
border-regions
where
Cross-border-
cooperation
cooperation for
with
cultural and




neighbouring
creative
countries could
industries
lead to
potential for the
creative
industries
 127

A NNEX 1:
S UMMARY OF R ESULTS OF THE F IRST T.A.
W ORKSHOP IN S TUTTGART ON M AY 5 T H /6 T H 2009

The group discussions on May 6th were following the World Café method and were
grouped in three sections with three questions each:

1. CREATIVE INDUSTRIES AND INNOVATION

a. “Which tools from the creative sphere could foster innovation in other industries?”
b. “What can cities and regions do to foster innovation in the creative industries?”
c. “How can the dialogue between the Creative Sector and other industries be
fostered?”

2. SUPPORT FOR YOUNG ENTREPRENEURS IN THE CREATIVE INDUSTRIES

a. “What can we learn on start-up support on a European level?”
b. “What are appropriate financing programmes for creative entrepreneurs?”
c. “How can political and university institutions support creative start-ups?”

3. INTELLECTURAL PROPERTY AND THE CREATIVE INDUSTRIES

a. “What are the impacts and challenges of current Intellectual Property laws on new
digital business models?”
b. “IP challenges in production and commercialisation of software and games - how to
make real money with virtual goods?”
c. ”Open Source Software - a non-profit charity or serious business? Who benefits?”

RESULTS

1. CREATIVE INDUSTRIES AND INNOVATION

• Creativity is a quality not restricted to so-called “creative people”. Also in traditional

industries the workforce has to apply creativity all the time. However, programmes
for further education will have to be tailored more to implement creativity training
also in traditional industries.
• Methods like LEGO Serious Play, Business Theatre or Design Thinking are good
examples for creative approaches to problem solution in companies.
• There is no lack of tools from the creative sphere – however, there is a need for
better environments to use these tools for their best effect. Those environments
should be characterised by simplicity and relaxation – which fosters creative
processes.
• Public policy programmes such as the Lifelong-Learning-Programme should put a
focus on creativity training.
• Creative Cluster Development has become a preferred approach by cities and regions
to foster Creative Industries. However, too little is known so far about what kind of
 128
Creative Clusters work: should the cluster have only one focus (e.g. a film cluster) or
span several sectors of the Creative Industries? Or should it also be mixed with
traditional industries? More intelligence and studies are needed in this field.
• The Creative Sector sometimes still lacks the image of a serious industry. Clients need
to be convinced and trust needs to be built. A system of Creativity Vouchers as
already in place in some European regions is a promising approach to trigger
contacts between creative companies and other industries through an initial
financial backing. The Creativity Voucher system should be investigated more.
• Companies from the creative sector are in need of inspiring environments for
creativity and innovation. This includes heterogeneous spaces and new and
multifunctional structures that allow for the flow of ideas between companies,
research institutions and cultural institutions. This is a challenge for urban
development.
• The dialogue between the Creative Sector and other industries is often hindered
through different mindsets and the lack of a common language.
• It is especially needed to come to a common understanding of the terms “creativity”
and “innovation” as they are interpreted differently in both realms. There is a need
to broaden official definitions of “innovation” to encompass also innovation in the
Creative Industries which is often different from technological innovation.
• Networks and platforms are helpful that foster trust and understanding. However,
the success of such platforms relies on a bottom-up approach and the intrinsic
motivation of companies to engage in cooperation. Dialogue between both realms
works when there are clear Win-Win situations for companies on both sides.

2. SUPPORT FOR YOUNG ENTREPRENEURS IN THE CREATIVE INDUSTRIES

• Very different models for start-up support are in place all over Europe. There is a
need of more intensive exchange between the different approaches.
• There are too few EU funding programmes that allow these actors to install and
consolidate cooperation between the different start-up programmes for creative
industries.
• Moreover, more funding programmes are also needed to implement new schemes in
the regions.
• Financial support programmes for young entrepreneurs often pose too many
bureaucratic barriers. The filing of application for financial support needs to be
easier/faster. Young Entrepreneurs make “quick decisions”, bureaucracy slows them
down.
• Young entrepreneurs still know too little about how to get financial support.
Institutions providing support need to put a greater emphasis on PR.
• Young entrepreneurs need affordable space (cheap offices, studios, shop floors, low-
cost accommodation for artists), e.g. in “Creative Centres” or “Technology Parks”
that foster clusters, cooperation and synergy.
• Cities need do to more in terms of presenting themselves as attractive and
affordable locations, especially for small companies and “lone fighters” in the
Creative Industry
• Start-up companies in the Creative Sector need relevant consulting, e.g. guidance on
how to receive financial support and how to work out a good business concept.
 129
Appropriate institutions/contact persons in schools, universities, (regional)
government and public administration should be installed.
• Schools and universities need to place greater importance on entrepreneurship
education. It is necessary to raise awareness about entrepreneurship, especially
among students enrolled in creative (non-economic) faculties to strengthen the
entrepreneurial creativity and soft-skills. It is also necessary to give students a
chance to put their theoretical knowledge into practice.

3. INTELLECTUAL PROPERTY AND THE CREATIVE INDUSTRIES

• It is disputed whether there is the need for a new IP regime adequate for digital
business models. Experts agree that the law system is generally fitting also for digital
business, however, the problem seems to lie in the enforcement of the law.
• Alternative models of financing of digital content are tested in some European
regions, e.g. collective licensing systems (“Kulturflatrate”) on the Isle of Man.
However, the success of such models cannot be predicted. More long-term
experiences are needed.
• For the moment, financing of digital content relies strongly on the established
business models of advertising or offering of additional services, e.g. in the case of
Open Source Software.
• The Video Game industry is one of the growth sectors of the Creative Industries. At
the moment the industry is moving away from packaged goods and towards online
gaming. But also the online gaming sector is increasingly being dominated by a little
number of large companies which makes it hard for new competitors to enter the
market. This could potentially be a case for anti-trust law rather than copyright law.
Regulation is needed to keep this market flourishing and diverse.
• A specific IP challenge in virtual economies lies in copyright law for collectively
created (virtual) works. Questions of ownership and plagiarism are yet to be tackled
by copyright law.
• The Open Source Software Industry has still many unresolved questions to deal with.
It especially needs to fight the accusation of being a mere copy culture.
• New forms of business models are needed. The organisational form of a
“cooperative” of individual programmers bears some promise in it.
 130

A NNEX 2:
O THER E UROPEAN P ROJECTS RELEVANT TO THE
T OPICS OF C REATIVE I NDUSTRIES AND
I NNOVATION

Acronym: CReATE
Full title: Create - ICT Innovations in Creative Industries

Programme: FP7

Description: Creating a joint research agenda for promoting ICT-based

innovations in Creative Industries aims to promote the innovation
potential of the creative industries and to provide strategic
guidance to all regions.

Website: www.lets-create.eu

Acronym: ACRE

Full title: Accommodating Creative Knowledge: Competitiveness of European

Metropolitan Regions Within the Enlarged Union

Programme: FP6

Description: This project aims to assess the impact of the emerging "creative
class" and the rise of the "creative industries" on the
competitiveness of EU metropolitan regions. While the traditional
"hard" location factors that firms use will remain important for
international competitiveness, new "soft" location factors that are
mainly related to attracting the required "talent pool" would
deserve increasing attention.

Acronym: REDICT

Full title: Regional economic development by ICT/New media clusters

Programme: FP7

Description: This project brings together 6 regions and clusters (18 partners),
which share a strong R&D presence in the field of ICT and New
media and the sense that this position has to be exploited for
maximal economic and social benefit. The results will be presented
in Joint Action Plans, Business Support Measures Packages,
guidelines and recommendations for innovative research-driven
clusters.
 131
Acronym: Innovation Circus

Full title: Challenge and Illuminate Regional Creators and Unfold Societal
Strength

Programme: FP6

Description: The objectives of the INNOVATION Circus are to identify the driving
factors behind innovation, to locate and involve all potential
stakeholders and to instil good practices and new measures into
national and regional innovation policies. It will address all potential
innovators in society, from schoolchildren to advanced research
laboratories, and from the curious man on the street to front-
runners in innovative enterprise.

Acronym: MediaTrans

Full title: Stimulating trans-national RTD co-operation between SMEs and

research actors in Europe and Asia in the media sector by
identifying future and emerging technology needs in SMEs

Programme: FP6

Description: The project "MediaTrans" intends to develop and implement a new

methodology to stimulate trans-national RTD co-operations
between SMEs in the media industrial sector. The MediaTrans
methodology enlarges the traditional set of instruments using a
holistic an d dynamic approach to enhance the readiness of SMEs to
participate in European emerging and future RTD activities and
programmes: The development, implementation and adoption of
technology roadmaps in SMEs will identify their future technology
and innovation needs and increase their demand for RTD projects..

Acronym: Creative Clusters in Low Density Urban Areas

Full title: same

Programme: URBACT

Description: Creative clusters as a driver for diversifying local economic base

and creating opportunities for young people. Transferring the
ultimate trend in local development to low-density urban areas.

The starting assumption of the project is that creativity can act as a

driving force for economic development of small urban centres and
not only of big cities. Thus, the main value-added that the work of
the Creative Clusters network can produce is to transfer the
“creative city model” (too much focused on big and middle-sized
metropolis) to low density urban areas. In other words, to transfer a
range of so far considered urban attributes (accessibility, cultural
life, technological facilities, competitive clusters, global networking,
etc.) to middle-sized and small towns.

Website: http://urbact.eu/thematic-poles/growth-and-job-
creation/thematic-networks/creative-clusters/presentation.html
 132
Acronym: Creative Growth

Full title: same

Programme: INTERREG IVC

Description: The overall aim of the project is to increase European

competitiveness and accelerate regional economic growth through
the development of the creative sector as a new business sector
and a key driver of the emerging knowledge economy. The aim is
also to influence policy development on regional and local level by
mainstreaming new knowledge and best practice into the policy
making process.

Website: http://www.creative-growth.eu

Acronym: Creative Metropoles

Full title: CREATIVE METROPOLES: Public Policies and Instruments in Support

of Creative Industries”

Programme: INTERREG IVC

Description: The project will showcase the key elements of what makes a well-
functioning, focused, flexible and efficient public support system for
creative industries in the participating cities by looking at good
practices in both policy and practical tools. The project will
contribute to an increased understanding of the elected decision-
makers and the executive level about creative industries – their role
in the overall economy, how they work – as well as increase the
awareness about the different policies and approaches that have a
positive impact on the growth and development of the creative
sector.

Website: http://www.share2solve.org/node/180
http://www.baltmet.org/pub/index.php?id=16&lid=43
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AAACHEN – BIRMINGHAM – CARDIFF – DONCASTER – DUBLIN – EINDHOVEN – NANTES - STUTTGART