Arts district
An arts district or cultural district is a demarcated urban area, usually on the periphery of a city centre, intended to create a 'critical mass' of places of cultural consumption - such as art galleries, theatres, art cinemas, music venues, and public squares for performances. Such an area is usually encouraged by public policy-making and planning, but sometimes occurs spontaneously. It is associated with allied service-industry jobs like cafes, printers, fashion outlets, restaurants, and a variety of 'discreet services' (see the back-page small-ads of almost any cultural events-listings magazine). There may also be some  artists' studios located in nearby back-streets. But, as Richard Florida has found from his research, cultural production facilities are often better sited some miles away from cultural consumption facilities - except in some very tolerant cities and in countries where a boisterous alcohol-based nightlife scene does not lead to aggressive and anti-social behaviour. In the UK the term sometimes used is "Cultural quarter" or "Arts quarter". Types of districts. According to Americans for the Arts. Americans for the Arts defines the following types of cultural districts: According to Steiner and Butler. Steiner and Butler outline five types of  arts districts commonly found in the United States. Theories of cultural districts. The creation of a cultural district implies collaboration between the arts and the local community. Cultural districts may be seen by local authorities as a way to revitalize the “brownfields” of the urban core: areas of abandoned buildings that encourage businesses and residents to leave the cities. The developing theory of cultural districts increasingly conceives them as development models for local systems, where the term ‘district’ refers to supra-urban area. At supra-urban or regional level the complexity of a cultural district is even more marked than  at urban level, due to potential interdependencies among a greater multitude of actors. A useful approach towards a deeper understanding can be to conceive cultural districts as complex adaptive systems. Indeed, complexity is definitely not a management fad and fashion, a mere metaphor or methodology, but a deeper perception of reality. Organizations are classically seen as purpose-driven entities with a structural form, exhibiting a certain degree of order and determinism. Such a linear top-down approach to analysis and design, however, exhibits many limitations when used for organizational settings characterized by a complex web of interdependencies. The view of  a cultural district as a complex adaptive system suggests new ideas and approaches for policy-makers, designers and managers. It also opens up debate on issues of organizational design and change. All cultural districts are unique, reflecting their cities’ unique environment, including history of land use, urban growth and cultural development. There is no standard model. Most cultural districts are built to take advantage of other city attractions such as historic features, convention spaces and parks and other natural amenities. Structural considerations within or near the district, community leadership and social forces all influence the development of a cultural district  and the type of district that results. Factors influencing the siting of cultural districts include: perceived need for urban revitalization, existing investment, property value and preexisting cultural facilities. Unlike a cultural center or a shopping mall, a cultural district comprises a large number of property owners, both public and private, who control the various properties involved, hence a structural complexity. The effectiveness of the coordinating agency in guiding the direction of the cultural district varies according to its size, budget, mandated functions and degree of authority, resulting in widespread variation in the coordinated cultural programming and administration services offered by  cultural districts. The coordinated agency appointed for the district must work carefully to ensure inclusiveness of concerns and to balance potentially conflicting interests. Cultural districts offer two major types of services: one targets the arts community, providing marketing /promotion, box office services and property management; the other targets the district's business and property owners, offering urban design and development services or administrative support. The excitement and attraction of a cultural district is a high mixture of interesting things to do, places to see, and places to visit (both cultural and noncultural), across the day and evening. Some artist-activists  are promoting the concept of a "Naturally Occurring Cultural District," or NOCD, patterned after the demographic concept of a naturally occurring retirement community. A NOCD "supports existing neighborhood cultural assets rather than imposing arts institutions somewhere new," according to Tamara Greenfield, co-director of NOCD-New York. Co-director Caron Atlas explained: "If a cultural district has emerged 'naturally,' then it grows from, builds on and validates existing community assets rather than importing assets from outside a community." Indeed, different conceptions of cultural districts include self-organization and emergence in different degrees (e.g. Lazzeretti, 2003; Le Blanc, 2010; Sacco et  al., 2013; Stern & Seifert, 2007). Many authors argue that districtualization is essentially spontaneous and that the conditions for formation can be recognized and sustained, not created from the top. If the conception of a cultural district as a complex adaptive system were accepted, the design process would be conceived as something more flexible, dynamic and in evolution. Complexity theory and complex adaptive systems should move understanding of supra-urban cultural districts towards a more holistic and bottom-up approach rather than a linear top-down approach to analysis and design. This does not suggest inhibiting any attempt at prediction or  planning. The use of qualitative analysis and rough estimations or agent-based modelling can represent a fertile ground for both future research, policy-making and managerial implications. List. Notable arts districts in the United States (alphabetical by city): Art districts in London include: