Renew Australia – Creative use of empty spaces and what that means

for the city

Thesis submitted in partial fulfilment of requirements for the degree of Master of Cultural

Economy

By

Rebecca Charlton

Monash University

May, 2015

Supervisor: Professor Justin O’Connor, Department of Media, Film and Journalism, Monash

University

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Abstract In 2008 Marcus Westbury launched Renew Newcastle, a project designed to assist artists and

creatives in occupying vacant shopfronts in the Newcastle CBD for the purposes of bringing

life back to what had rapidly become a city in decline. A resounding success, this idea was

then developed to go on to become Renew Australia, an organisation set up to assist other

towns and cities overcome their vacancy rates and bring life back to their main streets and

city centres. Launching in 2011 Renew Australia has demonstrated some successful outcomes

as well as experiencing recurrent hurdles. This paper will explore the key elements of success

and ultimately argue that an organisation such as Renew Australia is vital to achieving

successful urban regeneration outcomes. However, in order to meet organisational objectives,

outcomes must be clearly defined and inclusive of non-economic benefits. One of the clearest

and immediately identifiable/beneficial outcomes demonstrated when implementing a Renew

program appears to be the community benefits. The positive social outcomes are the most

important and common benefit of implementing an arts-led urban renewal program although

there is also some evidence that economic outcomes can also be achieved with varying

degrees of success. It is vital that stakeholders such as local councils, property owners and

community members recognise the social value of an arts-led urban renewal program rather

than only considering implementation with the intention of achieving economic benefits.

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Contents

Abstract .................................................................................................................................. 1

1.0 Introduction ...................................................................................................................... 4

1.1 Arts, Culture and Their Relation to People and Place .................................................. 5

1.2 Thesis Outline ............................................................................................................... 9

2.0 Renew Newcastle to Renew Australia ........................................................................... 11

2.1 Renew Newcastle ....................................................................................................... 11

2.2 National Organisation ................................................................................................. 13

3.0 A Successful Affiliate .................................................................................................... 15

3.1 Renew Cooma............................................................................................................. 15

3.2 A Local Champion...................................................................................................... 15

3.3 Location, Location, Location ...................................................................................... 16

3.4 Property Owners ......................................................................................................... 16

3.5 Tailoring the Project ................................................................................................... 17

3.6 Successful Projects within Cooma ............................................................................. 18

3.7 Cooma Survey ............................................................................................................ 19

4.0 Docklands ....................................................................................................................... 22

4.1 Confirming Space within Docklands .......................................................................... 22

4.2 Interaction with the Space .......................................................................................... 23

4.3 A Springboard............................................................................................................. 25

5.0 Positive Outcomes .......................................................................................................... 29

6.0 Recurring Problems and What Can Be Done ................................................................. 30

6.1 Property Owners ......................................................................................................... 30

6.2 Neighbouring Businesses ........................................................................................... 34

6.3 Consistency ................................................................................................................. 35

6.4 Gentrification .............................................................................................................. 36

6.5 Artists and Creatives ................................................................................................... 36

6.6 The Wider Community ............................................................................................... 37

6.7 Measurement .............................................................................................................. 39

7.0 Where to now? ............................................................................................................... 41

7.1 Working within a Wider Framework.......................................................................... 41

7.2 Local Community ....................................................................................................... 43

7.3 Networks ..................................................................................................................... 44

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7.4 Funding ....................................................................................................................... 44

7.5 Commitment and Dedication ...................................................................................... 45

7.6 Assistance for Community Groups............................................................................. 46

8.0 Conclusion ...................................................................................................................... 48

9.0 References ...................................................................................................................... 50

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1.0 Introduction Vacant commercial properties pose a problem for small towns and large cities alike. As such

this issue is receiving attention from policy-makers, government of all levels as well as

individuals. Various factors have contributed to this problem. These include online shopping,

reduced disposable income due to unemployment or underemployment and unsustainable

over-development, out of town shopping malls and dysfunctional absentee landlords and

investment companies. However the fact remains that cities, towns and their centres of

activity are vital for individuals in their day-to-day lives. Unused empty spaces can have

economic, social and psychological impacts on communities. Access to the city and the

opportunity to contribute to and change it, is considered a human right (Harvey, 2003). This

access and opportunity is fundamental to an individual’s wellbeing. For individuals or groups

who would like to make use of vacant spaces there are often economic and legal barriers that

prevent their use for a wide variety of purposes.

While the issues outlined above have been developing and becoming more prevalent the

discussion surrounding the creative and cultural economy and the ‘creative class’ (Florida,

2002) has also been progressing. Cities, regions and towns are increasingly turning to

creative industries, as well as arts and culture in a more traditional sense, to market

themselves to potential residents and visitors alike (Landry, 2000). Government rhetoric has

been moving from traditional arts and cultural policy designed to subsidise art and culture for

the public towards the idea of artistic and cultural activities sustaining themselves and

creating their own dynamic, growing economy. All levels of government are reviewing the

development of the creative industries in general as well as ideas surrounding arts-led

regeneration as an economic, social and urban policy (Mommaas, 2004; Pratt, 2012). While

these ideas have been embraced quite emphatically in various places there have also been

numerous criticisms (Peck, 2005; Berry, 2006). Critics have highlighted the fact that these

policies are often targeting an affluent middle-class at the expense of other groups within

society, that they sacrifice traditional arts and cultural policy for economic outcomes and that

the aims and goals of some of the policies are not clearly measurable, making for vague

policy implementation and outcomes. These issues have also been felt within Australia as

cultural policy has developed.

Within Australia the application of traditional cultural policy and the development of the

cultural and creative industries has varied throughout towns, cities, states and nationally.

Amongst those who work in this sector there is a generally negative feeling towards some of

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the creative industry ideas promoted by Richard Florida (2002) and Charles Landry (2000)

and a point of view that governments and councils appear to be too focused on economic

development and outcomes at the expense of social and cultural policy (Atkinson and

Easthope, 2009). There is also evidence of disconnection between strategy in Australia and

application. While cultural policies are often developed at a high level there is not always

evidence of how the principles or ideas develop into a clear framework or structure. An

example of this was Brisbane’s Creative City strategy in 2002 (Atkinson and Easthope,

2009). Landry was an early contributor to Brisbane’s Creative City strategy which contained

‘core principles’ along with evidence of how they were already being implemented and what

else could be done. While initially this policy began as a much more comprehensive strategy

document the political process removed this depth from it until it ultimately became more of

a ‘wish list’. That it developed this way and did not provide a clear policy framework meant

that it was eventually disregarded.

One strategy that has been used within Australia and internationally that brings immediate

change and works to connect policy and reality is having artists, creatives and cultural

producers inhabit vacant spaces for minimal to no cost on short-term licensing agreements.

This is a type of arts-led urban regeneration strategy where artists and cultural producers

bring life and vibrancy to previously empty spaces in order to encourage other community

members and commercial enterprises to follow. When this strategy is in place there are

benefits for many stakeholders including the artists themselves, the property owners and the

wider community. This is a ‘bottom-up’ as opposed to a ‘top-down’ approach. Small-scale

cultural investment such as this has been shown to be a worthy policy with positive

community benefits that avoids some of the negative aspects of gentrification (Oakley and

O’Connor, 2014). Gentrification can be a common outcome when artists revitalise an area

and often this means negative outcomes such as the displacement of lower socio-economic

groups within a community and loss of authentic culture (Zukin, 1995: Jacobs, 1961). Small-

scale activities are more likely to be responsive to what a community needs and as such are

more likely to involve a range of community members rather than excluding them. Enacted

on a small scale this kind of cultural change can achieve positive outcomes while ideally

remaining inclusive of the community it serves.

1.1 Arts, Culture and Their Relation to People and Place

An Australian example of small-scale cultural investment is Renew Newcastle, a project

created by Marcus Westbury in 2008 where assistance was given to artists and cultural

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producers to occupy vacant spaces on rolling 30 day licensing agreements with the intention

of bringing life and vibrancy back to a declining area in Newcastle. The success of this

project led to the creation of Renew Australia, an organisation set up to assist other towns and

cities to foster their own local culture with the intention of revitalising areas that are in

decline.

Research organisations are exploring the consequences of arts or culture-led renewal of urban

space, often with an emphasis on the social outcomes. One such organisation is the Social

Impacts of the Arts Project (SIAP) a research group from the School of Social Policy &

Practice at the University of Pennsylvania, Philadelphia. The research group began in 1994

and has been developing “methods to explore the impact of the arts and culture on

community life” (SIAP, 2015). The project “focuses on the relationship of the arts to

community change, with a particular interest in strategies for neighbourhood revitalization,

social inclusion, and community wellbeing” (SIAP, 2015). The work that is produced by this

organisation is valuable as it is focusing on the social impacts in addition to the economic

outcomes.

One of SIAP’s studies used North Adams, Massachusetts, a small town in the United States

of America, as an example of what can happen during decline and regeneration. Oehler et al

(2006) identified two points where a town progressing in this way can face upheaval. The

first stage of upheaval is faced when industry leaves an area and people respond to this

change by leaving the town in search of better employment opportunities. This is exacerbated

if those people who leave are more highly educated and affluent than those who are left

behind due to their limited options. The second stage of upheaval can take place once

regeneration begins, if care is not taken to include and support the community who have

remained in the area. There are many steps that will be taken during urban regeneration and if

care is not taken the gentrification process can develop rapidly and the existing communities,

as well as the artists and creatives who bring about change, may be then forced out of the

renewed neighbourhood or feel as if they are not welcome within it. In this regard, small-

scale cultural investment can be the right choice as it allows flexibility and adaptability when

dealing with change.

The Renew Australia program is able to demonstrate flexibility and adaptability as it

specifically relates to space in cities and towns and how the space is used by the communities

who inhabit them. The use of space in a city is influenced by a wide range of policy areas and

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strategies, and as such a hybrid policy of market based incentives along with public and

cultural incentives is needed (O’Connor and Shaw, 2014). Applying artistic or cultural

practices to the issue of vacant space, with the expectation that there will be positive

economic outcomes, raises the question of whether or not social policy outcomes can also be

achieved or whether they are in conflict (Gibson and Stevenson 2007). It is possible that a

sole focus on economic outcomes will be at the expense of traditional arts and cultural policy

and possibly at the expense of social policy. These goals can work against each other as

traditional arts and cultural policy and social policy often require spending without immediate

or direct returns. However, with a program such Renew Australia it is possible that benefits

can be felt across a range of policy areas.

Evidence is being found of the potential for the arts to have a positive long-term effect on a

local economy. Economic outcomes are often one of the primary focuses for councils and

local governments, possibly to the exclusion of cultural benefits. Researchers such as Pedroni

and Sheppard (2013) have attempted to undertake a clear analysis of the arts’ impact on long-

term GDP. Their analysis demonstrated a causal connection between changes caused by local

culture production and permanent changes to GDP. This is an area that continues to be

refined, particularly in terms of how it is measured, but will continue to stay relevant for local

councils who are considering implementing a Renew Australia program or any form of

cultural investment.

Worldwide recognition of the economic potential of the creative industries has been growing

for some time. Theorists, governments and economists have been watching and discussing

the rise of the creative industries for over two decades, recognising the increasing impact of

the creative industries in comparison to other economic sectors (Mommaas, 2004). In

particular, cities see the creative industries and their cultural activities as potential attractions

for a globally mobile population. The creative industries have often been poorly defined

however and as such the application of policy in relation to them is not always effective. The

United Nations Conference on Trade and Development released a Creative Economy Report

in 2008 which expressly identified the rise and the potential of the creative economy while

also recognising that its actual definition and parameters were (and are still) a source of

debate and contention.

Australia was originally a world leader in creative policy making with the production of

Creative Nation in 1994. Creative Nation was a formal federal government cultural policy

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that recognised the importance of culture to national identity while also identifying the

economic potential of this sector (Australian Policy Online, 2015). Following on from this

Australia was not immune to the development of the creative industries with an economic

focus with prominent and controversial academics Richard Florida (2002) and Charles

Landry (2000) both appearing to have had an influence over the development of the creative

cities narrative (Atkinson and Easthope, 2009). This research demonstrated that neo-liberal

ideas related to the development of the creative economy were apparent in Australia however

the way they have actually been taken up by governments is often informal, and in ad-hoc

ways. Adelaide is an example of this. Adelaide has long been a city that considers itself

creative with many cultural institutions and events. An expanded focus on this led the city to

bringing Charles Landry in as a ‘thinker in residence’ in 2003. However the feeling amongst

the local community in relation to how this has developed over time is that arts and cultural

policy was still conducted in traditional way rather than forming concrete development

strategies and implementing them in an effective manner (Atkinson and Easthope, 2009).

Looking past the economic outcomes there are many social impacts that arts and culture can

have on a community. These impacts are often difficult to measure however this research will

address measurement difficulties by detailing first-hand observations and interviews with

different stakeholders involved in a variety of Renew Australia projects. This research aims

to build upon past research and further discussions about the importance of community-led

cultural investment.

Throughout these interviews a range of questions have been asked which were designed to

produce a broad picture of the program itself, its potential problems and past successes. The

impact an organisation like Renew Australia can have on the issue of vacant spaces within a

town or city has been examined and the key elements necessary for a Renew style program to

be successful have been identified. The issue of vacant shopfronts is clearly apparent when

visiting small Australian towns. The placement of an artist or creative business into these

spaces has an immediate impact on the space itself, however the impact this has on the wider

community has become apparent in many ways throughout the course of interviews

conducted. It is these benefits, more so than the economic benefits, that should be at the

forefront of any implementation of the Renew Australia program.

This research has also demonstrated that there are a range of factors that should be considered

prior to beginning a Renew Australia program to increase the likelihood of its success.

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Important considerations include having a dedicated person or group of people involved (this

applies to both organisers and participants), focusing on a manageable area in terms of place,

having access to property owners and tailoring the program so it is relevant for the

community it is serving. When the program is successful benefits can include revitalised

streets, towns or suburbs, the creation and support of groups within a community, the

opportunity for creative entrepreneurs to grow their business or projects, increased economic

activity within a place and an improvement in attitudes towards a town or area of the city.

These are detailed further below.

1.2 Thesis Outline

This research thesis has addressed the issues outlined above relating to vacant spaces, arts-led

urban regeneration and the impact of arts and culture on social outcomes through the lens of

the Renew Australia program. Case studies have been developed which examine in closer

detail the practical implications of an arts-led urban renewal program. In this example the

Renew Australia is a community-driven, grass-roots and flexible program designed to have

an immediate impact on an area facing problems related to vacant spaces. Throughout this

research Renew Australia has demonstrated its ability to disrupt the narrative of declining

towns and vacant spaces.

The research was conducted through interviews and first-hand observations designed to

produce a detailed picture of the program. Marcus Westbury, founder of Renew Australia,

provided lengthy initial interviews covering the evolution of the program from Renew

Newcastle to Renew Australia. Marcus then assisted in creating pathways for contact to be

made with affiliates and others involved in the program. Potential interviewees were also

found online and contacted via email to request interviews. These interviews were conducted

over several months with occasional follow up interviews happening with key participants.

Interviews were conducted in person and via telephone and were semi-structured with set

questions to begin with then allowing flexibility to discuss other ideas and feedback as it

came up.

This thesis begins with a description of Newcastle prior the creation of Renew Newcastle.

This is followed by a discussion about Renew Newcastle, what it has achieved to date and

how it developed into Renew Australia. I then illustrate some of the key attributes of a

successful affiliate program using Cooma as a case study. This case study demonstrates some

of the areas that need to be focused on prior to implementing the program and how they will

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contribute to successful outcomes. Docklands Spaces is then also discussed of the program

being run in a slightly different way. This case study highlights some of the potential

difficulties faces by an arts-led urban renewal program as well as some of the unique benefits,

particularly that the area itself can receive from implementing the program. In both of these

case studies there is also an examination of successful outcomes for participants and this will

be expanded on in its own section. Some of the recurring problems are then raised in order to

make clear what obstacles can stand in the way of successful implementation as well as a

wider view of the climate in which the program will reside. Finally I will expand on what the

future could hold for Renew Australia as an organisation as well as affiliate programs

finished with a conclusion summarising the points above.

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2.0 Renew Newcastle to Renew Australia During the 1990’s Australia faced an economic recession, and in order to reduce costs,

businesses in the manufacturing industry moved the majority of their operation offshore.

Newcastle, a city once known as the ‘steel city’ due to the presence of the BHP (Broken Hill

Proprietary Ltd) steelworks and associated heavy industry, fell victim to these strategies.

Employment cutbacks at BHP beginning in the early 1980s, combined with other heavy

industry labour reductions and closures, meant that Newcastle’s local economy weakened

throughout the 1990’s (Rofe, 2000). During the recession of the 1990’s Newcastle reached a

peak unemployment rate of 17% in February 1993 (Australian Bureau of Statistics, 2007).

However, following on from this time Australia as a whole was experiencing economic

expansion and Newcastle was able to begin rebuilding through a diversification of its

economy, particularly in the health and education sector (Sydney Morning Herald, 2015).At

times the outlook was optimistic (Rofe, 2004) however by 2008 there were many vacant

shopfronts in and around Hunter Street (the main street of Newcastle). This was put down to

a range of factors including the 1989 earthquake (which took the city time to recover from,

due to the recession) as well as the geography of the main shopping district which featured

one long street cut off from the foreshore by the railway line. Marcus Westbury saw the

problem of vacant spaces and, using his experience and connections in the arts industry,

established Renew Newcastle. After initially wanting to open a bar in Newcastle and feeling

frustrated by the barriers that prevented him from doing so, while still seeing many vacant

shops in the CBD (150 empty buildings in the Newcastle CBD in 2008), Marcus began

thinking of how to tackle this problem in a different way. Marcus understood that the culture

of a city is a difficult thing to quantify and create in direct contrast to the way governments

and local councils can design and implement transport, buildings and community building

blocks. He could see that cities need to embrace and develop their own unique culture as well

as a confidence in their own distinctiveness. Cities need to create and evolve their own

mythology and believe that what happens in their spaces is unique and different to what

might happen anywhere else in the world (Westbury, 2008).

2.1 Renew Newcastle

Renew Newcastle was established in 2008 as a not for profit company that would find short

and medium term uses for buildings in Newcastle’s CBD that were vacant, disused or

awaiting redevelopment. The company aimed to find artists, cultural projects and community

groups to use and maintain these buildings until they become commercially viable or are

redeveloped. Renew Newcastle has assisted 170 new community projects and creative

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businesses in total. As at June 2014, there were 50 projects activating otherwise empty spaces

– featuring local creative enterprises which are producing and selling the things that they

make: design (graphic, web, fashion, architecture, interior), photography, printmaking,

painting, illustration, jewellery, animation, publishing, video & music (Renew Newcastle

website, 2015).

Vacant buildings are typically leased to artists on 30 day rolling leases. This is the default

licence agreement and means the property owners can give 30 days’ notice for the current

occupant to vacate at any time if they receive a commercial offer on the property or need to

proceed with development. This licensing agreement is one of the reasons property owners

are willing to offer their spaces and why properties are therefore available at no (or little)

cost. Renew Newcastle states clearly that the organisation supports the property owner to the

maximum extent possible to ensure that their involvement is tax effective and their

contribution is seen as a positive contribution to the community. The artists or cultural

producers can then trade their lack of security for much cheaper rent than they would

otherwise be able to obtain.

Renew Newcastle has demonstrated some clear indicators of success. SGS Economics and

Planning Pty Ltd produced a report (2011) aiming to find the best way to measure the

spectrum of benefits that the Renew Newcastle cultivated. This report used a cost benefit

analysis, which is an economic evaluation used to measure the net gain in community welfare

from a particular program or initiative. A cost benefit analysis was specifically selected for

the Renew Newcastle model due to the broad range of aims that were not solely economic.

The SGS Economic and Planning report sought to prove the viability of low cost culture-led

city activation and renewal. Using the social cost benefit analysis, it found a Benefit Cost

Ratio (BCR) of 10:1. Under a cost benefit analysis any project with a BCR of greater than

one and with a positive net present value is considered to be providing a positive social and

economic value to society. This demonstrates that Renew Newcastle’s aims in relation to

providing a positive impact on the local area were met and exceeded. For every dollar

invested in the program through grants and philanthropy Renew Newcastle activities generate

ten-times that in economic and social benefit to the city and its community.

Renew Newcastle has been working alongside other major developments within the city and

has demonstrated how informal programs that complement large-scale urban developments

can bring about positive change in an urban setting (Deslandes, 2013). While local

13

government brought in other measures designed to revitalise the city and Newcastle sought to

reinvent itself, the Renew Newcastle program made an immediate impact on the visual

aesthetic of the city centre and created small-scale change for the city and its community.

2.2 National Organisation

Following on from the success of Renew Newcastle, the idea was imitated in other towns

through projects such as Made in Geelong, Pop Up Parramatta, Renew Adelaide and Renew

Townsville with varying degrees of success. The need for a national organisation that could

assist other towns and cities to implement their own neighbourhood renewals was recognised

and Marcus Westbury went on to found Renew Australia. Renew Australia is an organisation

that uses the intellectual property and experience generated in Newcastle to assist other

communities, suburbs and cities set up similar programs to tackle their own problems with

vacant spaces. Renew Australia is a not for profit company, limited by guarantee, that trades

as a social enterprise. It provides fee for service based training, consultancy, research and

other services to councils, state and federal government, economic development

professionals, developers and property owners (Renew Australia website, 2015). In addition

to this, Marcus made freely available under a creative commons license the licensing

agreements used along with guides, tips and tools. This means that any community can draw

on this experience and implement their own Renew-style project while also staying true to the

original Renew Newcastle ethos of DIY community-driven change.

Renew Australia has had some success in achieving outcomes related to arts-led urban

regeneration as well as also encountering some hurdles and challenges. The value in having a

national organisation to provide advice and support is clear, however the actual

implementation of the program can be complex and there are many factors that contribute to

a successful outcome for other communities. Renew Australia also faces challenges in

defining itself as an organisation and determining where it fits within a wider policy

framework. Is it urban renewal for positive economic outcomes? It is related to creative

business development? Is it primarily about creating space for arts and culture to flourish? It

touches on all of these areas, and often more, which can create further difficulty when

identifying funding sources and measuring outcomes. Renew Australia provides different

levels of involvement depending on the location and situation. For an affiliate it might simply

provide advice, support and resources but in other situations Renew Australia might be

managing the project completely including sourcing properties, reviewing applications and

managing participants. This research has shown Renew Australia can bring value to a

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program’s implementation at a variety of levels of involvement. When Renew Australia

manages a renewal project it is able to provide experience and resources effectively however

it is also able to provide support and advice if that is all an affiliate needs and can afford.

Renew Newcastle has to date supported over 170 arts, creative and community projects.

Newcastle today is certainly flourishing. Hunter Street Mall is vibrant and busy with cafés,

clothing stores, restaurants and stores of all variety showing high levels of foot traffic, even

on a Sunday. The Emporium is Renew Newcastle’s recently opened showpiece space, the old

David Jones department store is now home to several independent designers and artists.

Amidst the new commercial stores the Renew Newcastle businesses can still be found with

their shopfront sticker indicating who they are. Today they are generally occupying space off

the main strip where there is not so much foot traffic however they are still well-placed to

receive visitors and are welcoming and established. There also appears to be quite a few

operating as collectives.

In conjunction with this there is also extensive commercial development along the waterfront,

which could be indicative of the first signs of gentrification. If this development is the

beginning of rapid gentrification there may be potentially negative outcomes such as the

artists and cultural producers being pushed out of the space due competitive commercial

tenants and rising rental prices. Gentrification does not only have negative outcomes; the

arrival of more affluent groups can lead to improvement in the physical fabric of a city

(Zukin, 1995; Peck, 2005). If development is managed and kept in balance with other policy

areas then it is possible that all groups within the community can benefit. Art appears to be a

predominant feature of the city with commissioned and independent street art found in many

places. It appears that Newcastle has embraced its mantle as one of the Lonely Planet Top 10

destinations of 2011 by cultivating and supporting its unique culture. Renew Newcastle has

demonstrated that if a city makes it easy for a diverse range of people with interesting ideas

to undertake a variety of projects, a vibrant and active space will be created for the wider

community to enjoy.

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3.0 A Successful Affiliate I will now examine a Renew Australia affiliate through the town of Cooma. Renew Cooma

began in 2014 in response to high vacancy rates among shops in the main street of town.

Vacant spaces are increasingly becoming an issue for many small and medium-sized towns

and Cooma, NSW is no exception to this. The Snowy Hydro scheme brought many new

people to the town in the 1950’s and 1960’s however, once the scheme was completed in

1972, the plant transitioned to an operating company and employment opportunities declined

with fewer employees sourced from the towns in the local area. As community members

started leaving to find employment, Cooma began facing steady declines in population.

During the time that the Snowy Hydro was being built it is estimated that the Comma

population was up to 3 times the number it currently is. Cooma currently has a population of

around 7,000. The community was aware that the town was slowly declining and could see

the visible signs of this in the form of empty shopfronts and vacant spaces. Prior to Renew

Cooma being implemented there were over 20 empty shops in the main streets of Cooma.

3.1 Renew Cooma

When the issue of vacant spaces was raised at a meeting, the Renew Australia program was

put forward as a potential solution. A local person, Suzanne Dunning, went on to do

extensive research into this program. This included speaking to other nearby shires that had

also implemented the program and speaking to a local real estate agent to see what their

thoughts were. During this research she could see potential issues but could also see where

Cooma had key ingredients for success. Suzanne went on to put together a proposal for the

Local Council, formed and chaired a Renew Cooma Committee and presented the proposal to

the Chamber of Commerce. A $5,000 stimulus package was granted by the Chamber of

Commerce to commence the program. The research that went in to the program prior to its

confirmation was one of the key reasons it went on to become a success. The Committee

were aware of the potential issues but could see that Cooma was a prime candidate for a

renewal program such as this. These reasons included having a local champion, focusing on a

small area and having access to property owners. All of these reasons will now be detailed

further.

3.2 A Local Champion

A key factor for success when implementing the Renew program is having a person (or group

of people) who can contribute some key elements. These include community connections,

time to dedicate to the project and passion for the project itself. In Cooma this person was

16

Suzanne, along with the Committee she created. Suzanne works part-time in the local visitor

centre and is well-connected in the local community. She is driven by a passionate dedication

to making Cooma vibrant and sustainable and she has drawn others in who feel the same

way. Suzanne is semi-retired and devotes untold hours on a volunteer basis to the Renew

Cooma program. She is active in sourcing and approving participants as well as speaking

directly to property owners to ensure they are happy and involved in the program. Some

properties were obtained after many face-to-face conversations which Suzanne could easily

arrange due to her position in the community. During these meetings she was able to explain

the motivation behind the project and alleviate any potential concerns. Her vision and drive

truly sustained the project. This was also demonstrated by the unique set of skills and the

vision that Marcus Westbury had when first creating Renew Newcastle. The potential

difficulty of securing this element will be discussed further on however the importance of it

cannot be underestimated.

3.3 Location, Location, Location

Another key factor to Cooma’s success is the size of the area being revitalised. There is one

main street and two cross streets that are the focus of the town revitalisation program. By

focusing on a reasonably contained space it means the positive impacts can be felt quickly as

shopfronts are visibly altered. It also means that anyone with an interest in the projects can

easily wander from one shop to another. Filling these empty spaces also impacts other

businesses in a positive way as more foot traffic is created. In order to identify businesses

who are participants in the Renew Cooma program there are free-standing flags outside their

shops and posters in their windows. Again, this is reflected in the original Renew Newcastle

project where Hunter Street Mall was the primary focus. Concentrating on a smaller area

allows for the positive effects to be demonstrated sooner. Pinpointing the key shopping

district also means that there will be better outcomes for the participants as they are not

occupying vacant space that is difficult to attract people to.

3.4 Property Owners

Once the Renew Cooma Committee began investigating who owned the empty shops they

were pleased to discover that these were generally owned by locals. This made getting in

touch with them and explaining the project and the potential positive outcomes much easier.

This will most likely only relate to smaller towns in particular where the divide between the

property owners and those running or participating in the program is not quite as vast. There

are approximately 7 people who have allowed their properties to be used for the program.

17

Often it was a matter of Suzanne having several meetings with property owners to explain the

program and how it could ultimately be beneficial for them. Again, this is something that is

not easily replicated and will be discussed in more depth later in this paper.

Renew Cooma also has a good relationship with local real estate agents. There is only one

who was identified as being not entirely receptive to the program. In a town of this size

having real estate agents on board is vital as they are often the gate-keepers between those

who run the program and the property owners themselves. In a smaller town it is also more

likely that real estate agents can clearly see what the potential benefits are. Given that it is

illegal to provide contact details of property owners so that they can be directly contacted, a

good relationship with the real estate agent is an important factor. Suzanne’s contacts and

position within the community helped in establishing networks with the property owners and

real estate agents.

3.5 Tailoring the Project

Networks were shown to be important when implementing Renew Cooma. Suzanne had

some contacts in the local arts community through her work at the Visitor Centre. Word-of-

mouth was then the predominant driving force for getting the message out to other artists and

creative people. The Renew Cooma Committee stayed alert to potential new businesses that

could participate in the program and ensured that details about the program spread through

local networks.

Suzanne also went beyond the application process and determined what Cooma needed based

on her own experience and knowledge about the community and those who visit it. This led

to her seeking out people who could open a Woodwork Gallery as well as an iPhone repair

store. Cooma did not currently have these stores and she could recognise the need for them.

The intention being that having a wide variety of shops would keep locals spending money

within the town rather than venturing elsewhere as well as drawing in tourists and visitors for

an extended period of time. In the instance of the iPhone and 3D printing shop the focus is

not necessarily on the arts or creative practice but branches into support of small business,

demonstrating the flexibility of the program and the Renew Cooma Committee.

As a visitor today, Cooma comes across as a vibrant and lively town. The main street is busy

and the vacant shops that are there are not prominent or overwhelming. Several businesses

were pointed out as being fairly new. Some of these originally applied for Renew Cooma but

were turned down as they did not fit the requirements. This would indicate that the process of

18

application enabled them to review their business idea in more depth and see that it might be

commercially viable anyway. In this way the Renew Cooma program has a multiplier effect

and has been one part of a broad push by the local community to revitalise their town.

3.6 Successful Projects within Cooma

Renew Cooma has several examples of participants that have reached a range of different

stages of the program. The most successful of these so far is Nightbird Cottage. This antiques

store was started by a couple, Nicki and Simon, in November 2014. The Renew Cooma

Committee was eager to confirm an antiques store, recognising the need for it in a rural town.

Nicki and Simon already had a large collection of antiques that they occasionally sold and

saw that the Renew program was an excellent opportunity to test the market to see if it was

viable to open their business commercially. They committed to a three month plan and were

pleased to see the shop become a success. In this particular example Nicki and Simon’s

business experience meant that they approached the opportunity in a very professional way.

The landlord of this particular shop was very supportive and could see the opportunity it

presented. They signed a commercial lease for the shop in January of 2015 and have been

very happy with how the shop has progressed since. Nicki and Simon, as well as the landlord,

have been direct beneficiaries of the program however the positive impacts are felt elsewhere

in this particular area of town. There is a café across the road owned by a Russian family and

Nicki feels that the combination of the long opening hours of the café and the European feel

of it means that the two stores complement each other and add to each other’s business. Many

people stop in to the Nightbird Cottage to strike up conversation about the items displayed

there and history in general so it has certainly had a positive contribution to the local

community in many ways.

Another shop that is part of Renew Cooma is Made on the Monaro, an arts and craft shop that

is inside an old sports store. This shop began with 6 people taking up the licensing agreement

and setting up a local arts and craft store. This has now grown to 44 people. This group is led

by a Committee who manages the administration of the business and allocation of tasks. The

group is then rostered on to work in the store, makes items to be sold and displayed as well as

conducting workshops within the space. These people are predominantly older women, prior

to this many of them were more isolated at home and the store has meant they have a place

that they can meet and interact with other community members. The benefits that this

community hub provides are not necessarily easy to measure but are nonetheless extremely

valuable.

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Monaro Woodworks is a well-established store towards one end of the main street. It is not

necessarily a great space for foot traffic however the inside is very well-suited to Linda and

Ryan, who run it. As it is an old ski store it is quite large with good access. Linda was

previously selling her work at market stalls when Suzanne approached her to see if she would

be interested in opening a Renew Cooma shop. Linda and Ryan manage the shop and are

responsible for day to day operations, however many artists exhibit their work here. Monaro

Woodworks is another example of a community building due to having a space they can

create in and feel connected to. Originally the space was meant to allow for work to be

created however they have found that they are running out of room with the amount of work

that people want to display. As such Linda does most of her work at home and brings it in.

Home for Linda and Ryan is over an hour away from Cooma. This, combined with the

amount of time the shop demands, means that the shop might not be sustainable long-term

but it is certainly currently contributing to the community in a very positive way.

3.7 Cooma Survey

As part of Renew Cooma, one of the Committee members and a Sports Business Consultant,

Stuart Wood conducted a survey of participants in the program and prepared an Economic

Impact Statement which yielded some interesting results. The survey provided results for 6

months of trading from January to June 2015 based on survey results, projections and

anecdotal evidence. The Economic Impact Statement factored in sales made in the Renew

shops, displays, media, investment in local trades and services, full time employment,

training pathways, customers, increase in foot traffic, the Marcus Westbury visit (media

value), real estate value, commercial leases and function spend. Also factored in was the

Social Cultural Impact which included school visits, local events, home based adults now

partially employed or engaged, volunteering, outlets for arts and crafts and engagement with

local arts and crafts communities or organisations.

The Economic Impact Statement found the initial $5,000 investment has resulted in a return

of $369,932 (an approximate figure which includes all economic, social and cultural

impacts). This demonstrates a Return on Investment of 7,398%. Even removing alternate

costing of labour and tourism spending which are indirect impacts (but nonetheless associated

and substantial) the return on investment was still over $100k on a $5k investment – a return

of 2,000%.

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Stuart’s research was preliminary and is still to be refined and finalised. However, early signs

show that for a very small investment the Renew Cooma initiative had profound and far-

reaching effects. In line with the SGS Economic Report into Renew Newcastle, this report

demonstrated that for every dollar that is invested there are numerous returns made to the

community that are wide-reaching. The implementation of this program brought together

many different groups within the town and activities were conducted in a number of different

ways.

Some other interesting findings from the survey were that following on from Renew Cooma

survey participants would, on average, be more inclined to live in, work in or invest in

Cooma. This result indicates that the program has made them feel more positive about the

town and its long-term sustainability. Survey participants noted that although their highest

visitor demographic were locals, there were visitors from Canberra, South East NSW and

interstate and overseas, who interacted with and made purchases in the Renew shops. Some

participants even noted that this audience provided additional exposure of their initiatives by

promoting their wares to new markets via social media. All of the survey participants noted

the social, cultural and community value of the Renew initiatives being a social hub breaking

down barriers of isolation, loneliness and segregation. The development of new skills and

volunteer engagement were also repeatedly mentioned in survey responses and values have

been assigned to these and have been included in the Economic Impact (Wood, 2015).

The drawback of this report, as well as the SGS Economic Report, is that success is measured

by looking closely at the initial investment made and the returns that are a result of that

investment. It is likely that this kind of reporting is very appealing for councils and

government who need clear and measurable outcomes in relation to investment and spending.

However, it is important to consider that successful outcomes can be achieved even when

very little money has been initially invested. For example, in Cooma, the numerous volunteer

hours provided by Suzanne Dunning and the rest of the Renew Cooma Committee are not

necessarily factored in but are also forms of investment. Unpaid time spent on a Renew

project, from the organisers as well as the participants, is considered ‘sweat equity’, meaning

investment in the form of effort rather than finance. This ‘sweat equity’ is crucial in the

program being a success so it would be a mistake to disregard this element. This aspect of

planning can be monetised, if a certain person is chosen to manage the program and paid a

wage. However, in many examples it seems that this is either driven by a passionate

21

individual on a volunteer basis or it is consumed into a person’s overall job description. If a

person was paid for this time it is likely that the returns would still be substantial.

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4.0 Docklands The Renew Australia program has also been implemented in the Melbourne suburb of

Docklands, branded as Docklands Spaces. This is an interesting example of the project as

Docklands is a rapidly developing area of a major city, rather than a town or city in decline.

New buildings continue to go up in Docklands and the area is still being marketed as

commercially successful while properties are sold to potential investors. However the space

appears to have been over-developed and many shopfronts and office buildings sit empty

with no potential tenants. Anecdotal evidence suggests that Docklands is thought of as a

ghost suburb with huge buildings, large restaurants and wide open spaces but not enough

people occupying them. While there has been quite a lot of large corporate investment it is

lacking in character and people are not necessarily drawn to the space. Some areas are now

busier during the days however one interviewee described the exodus at 5pm, as people finish

work, leave their offices, and then stream to Southern Cross station and out of the space.

There is still not a regular flow of people throughout the space which means that it can be

unappealing at certain times of the day. Docklands presents different problems and

opportunities when compared to the affiliate program. Aspects that are unique to this

implementation of the program, as well as some similarities, will now be looked at in more

detail.

4.1 Confirming Space within Docklands

Renew Australia partnered with Places Victoria and City of Melbourne, and has worked to

contribute in a positive way to the problems of vacant space by applying the Renew strategy.

Spaces have been acquired with varying degrees of success. Occasionally this has been

difficult with many owned by overseas individuals and organisations which has meant that

negotiation and discussion has been hindered by time differences and language barriers. This

difficulty can often mean that even if initial contact is made momentum can be lost. There

have also been some negative responses from real estate agents, often the gatekeepers in

these discussions. It appears that property owners do not always understand the appeal of

allowing artists or creatives to occupy their spaces rent-free or possibly see too many issues

with it. This seems even more apparent if the property owner is not familiar with the space

itself and cannot see the problem that empty spaces create. These concerns can be alleviated

through discussions with the Renew team but often it is not possible to even begin these

discussions. Interviews produced evidence of property owners or managers changing their

attitude over time as they see how artists can activate and change the space, making it more

appealing for visitors and commercial tenants alike.

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In Docklands Spaces there are currently 10 spaces being occupied by 14 participants, with

some sharing. Approximately 4 of these have shopfronts, the rest are office spaces. Some

previous occupants have moved on from their spaces, including some galleries. During my

research I found there have been many positive outcomes achieved through this project,

particularly for the participants. There is some evidence also that Docklands itself is changing

and beginning to develop its own character. The Renew program has played a small but

valuable part in this. Initially, any art or culture that was in Docklands was seen as corporate

art implemented from the top down and fabricated as opposed to developing naturally. The

Renew program has contributed in a positive way by bringing in community members who

have started to nurture and foster art and culture from the bottom up.

4.2 Interaction with the Space

When artists and creatives move into a space they do not simply go there, create or work, and

then leave. Throughout these interviews participants spoke about how they actually interacted

with the space and drew more people in to create community hubs within the area. The Front

was one such participant. This was a large-scale art gallery that occupied a space owned by

Harbour Town for 20 months. Large scale exhibition space can be very expensive so the

founders could see the opportunity presented by Docklands Spaces. One of the co-founders,

Deb, had been working in this field for 10 years and had experience working with groups of

people in public spaces. The Front set itself apart from commercial galleries by offering a

space that artists did not need to submit proposals to exhibit in. Instead the gallery was

curated by networks and research. As an artist herself, Deb wanted to do something different

within this space. The free rent provided by the Renew program allowed the organisers of

The Front to be more experimental with how the space was run.

During this time they expanded to have an artist-in-residence program. Artists who

participated in this actually went out into Docklands and interacted with and interpreted the

space itself. They also began having performance artists work in the space and outside within

Docklands itself at all hours of the day and night. Two artists who were in residence took a

group out for a tour through the space, discussing its history and quirks. The community was

very collaborative. Additionally, people were drawn to visit the space who would not have

visited Docklands otherwise. Deb knew that the wider arts community was not used to

visiting Docklands to experience art and had to rely on her networks to draw people in. A hub

was created for this particular arts community, and was facilitated by having the space

available. The space was run by people who were large-scale installation artists themselves

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which contributed to its success and growth. This community has been retained to some

extent since The Front closed, although it is not as intensive as it was when the space was

bringing people together.

Renew Australia was a necessary link between The Front and the owner – Harbour Town

Corporate Body. The team at Renew Australia was able to explain the objectives of the

program and alleviate any concerns that the property owner had. The owners of The Front did

not have corporate experience and were unused to working within a corporate framework so

in this regard having a dedicated body facilitating this communication was extremely

valuable. Deb felt that although the property owner did not really see the value in the gallery

in the beginning, over time this changed as they could see the impact it had on the vacant

space itself as well as the surrounding area. The shopfront was in a great position, had an

excellent street presence and drew in people of all types. This included tourists, sports fans

and shoppers – not necessarily people who would go out of their way to visit a large-scale art

gallery. The combination of this gallery as well as three others in close proximity, Food

Court, D11 and Frout, created a good drawcard for people to visit the space. Chantelle, one of

the founders of The Front, also conducted Art Walks which took people through the different

spaces. In this regard the people who came to work in these spaces were extremely

collaborative and enjoyed bringing vibrancy and life to the space they were in. They often

visited each other to see what was happening. While these four galleries were operational

Renew Australia also produced monthly fliers detailing what was happening in the spaces

and encouraged people to visit.

Deb also commented that part of what she liked about being in Docklands was that the space

was a point of contention. It is not considered an arts hub within Melbourne and in this regard

the artists who came to work and exhibit there relished the opportunity to challenge these

notions and contribute to its evolution. The artists who were part of The Front were used to

working in this manner which made them a perfect addition to the space. This is an

interesting example of how artists can bring different attitudes and experience to tackling a

problem. All of the participants I spoke to had ideas and opinions on the area and the spaces

within it and were eager to participate and contribute, even after they had moved out of the

space.

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4.3 A Springboard

One of the common outcomes found when examining Docklands Spaces was that it was a

valuable springboard for people to start or grow their own artistic practices and creative

businesses. There are multiple examples from this research that show how the opportunity to

use free or cheap space creates opportunity for creative entrepreneurs. This has meant that

those who are thinking about a new venture, or have started a new enterprise, but are limited

by resources, can take the next step, resulting in positive outcomes such as nurturing their

project or small business and developing community networks.

For example, Docklands Spaces provided Joe Blanck from Ampersand Studio and A Blanck

Canvas with an opportunity to start his own creative business. Joe was working for Creature

Technology Company as a puppet maker and scenic artist. At this time he was considering

branching out on his own when he heard about Docklands Spaces through word-of-mouth.

He applied for 3 spaces with a fellow artist, Felipe Reynolds, before finally being approved

for a property that had been vacant for 8 years. It was a very large space, suitable for the

work they would be doing. It was an industrial space in which they converted the front half

into a gallery and the back half into an area where work could be created. It became an

extremely vibrant gallery and work space as more and more artists were drawn to it. In terms

of visitors there were many walk-ins with tourists being dropped off into Docklands for the

day. Joe and Felipe found that often it was difficult to actually create work as they were

caught up in the administration side of the gallery and greeting visitors. As word spread more

and more artists were eager to exhibit their work. When pieces sold they had to be noted and

money transferred to the creator. The gallery was open most days, even Saturday and Sunday,

which was a key element to its success. This could not have been achieved with just one

person running the space but was manageable with two committed people.

Although this arrangement did not necessarily end on a positive note for Joe and Felipe they

still went on to achieve further success and Docklands Spaces provided a valuable

opportunity at the right time for them. Eventually the space was successfully rented out to a

commercial tenant as an arcade which can be seen as a good outcome for the property owner.

The new tenant viewed the gallery and liked what Joe and Felipe had done with it which

contributed to his desire to rent it. Unfortunately this occupancy did not end as well for Joe

and Felipe as they felt the real estate agent did not have a good feeling towards them and

hindered them being able to secure the commercial lease for themselves. They had put quite a

lot of time and money into the space, particularly in regards to the plumbing and electrical

26

work. The gallery was also beginning to hit its stride and Joe felt that they were ready to

secure a commercial lease. They offered $200 per week however they received a second

eviction notice, it appeared that the other potential tenant may have offered $300 per week.

However, following on from this the outcomes were still good for the participants. Joe and

Felipe went on to take up a temporary space in nearby Footscray before Joe took on his own

commercial lease in Coburg. Joe feels that he would not have been able to do this had it not

been for the Docklands Spaces program which gave him a vital stepping stone in establishing

his own business. This positive outcome has been demonstrated several times as an effect of

Docklands Spaces.

Another similar example of this outcome was Musk Architecture. For two months in the

beginning of their business Musk Architecture was operated out of one of the founders’

houses. The opportunity presented by the Renew program allowed this small business to

grow and develop. Musk now employs five staff – 3 architects and 2 graduates. As architects

they are genuinely interested in the development and growth of Docklands and are proactive

in the space that they occupy. Hannes, one of the founders of Musk, is also a tutor at Monash

University and will be conducting one class a week in the Docklands space. This is another

example of the way creative people interact with and bring others into a space. Since

occupying space within Docklands Musk are also beginning to get more work in the area.

Hannes feels that they will be ready to take on a commercial lease shortly and they will

consider Docklands. However, Hannes feels that the rental price will likely be too high, with

rental prices still cheaper in places such as Collingwood or Abbotsford; Melbourne suburbs

which already have established cultural identities of their own. This is an important

consideration for the Docklands renewal program as artists and creatives may be interested in

staying in the area but the level of development and associated costs may deter them from

staying long term. This would then indicate that it is unlikely that there will be any kind of

sustainable and long-term creative culture within the suburb. This issue is difficult to manage

as rental prices and current market value are factors outside of the control of the Renew

program.

Musk Architecture and other similar businesses are unique to the program, in that instead of

occupying vacant shopfronts they are occupying vacant office space. The building that Musk

occupies, along with 7 other Renew participants, is a vibrant and unique building. However,

looking out into other buildings it is noticed that many floors remain empty. This is not

27

necessarily about changing street scapes but rather making the environment within office

space active. The property owner of one of the original spaces that Musk occupied along with

another creative business, Studio Batch, believed that by having occupants in the space it

made it more appealing to potential commercial tenants. These types of occupancy can also

be uncertain, with Musk moving three times through four spaces during their time with the

program. Participants appear to feel that this insecurity is worthwhile though for the

opportunity to incubate their businesses while obtaining free space.

Participants’ attitudes towards Docklands have been shown to change quite extensively

during their time with the program. Initially they thought of Docklands as a ghost town, a

failed suburb, with no reason to go visit and spend time there. Following on from their

participation in Docklands Spaces they often have much more favourable ideas about the area

and are more likely to visit it again. How much this spreads to others and how likely it is that

this will continue into the future is difficult to quantify. There is still a feeling amongst the

participants that Docklands is not cultivating the small-scale cultural practices as much as it

should in order to have a long-term sustainable cultural element.

Renew Australia’s involvement in Docklands Spaces is much more predominant than in the

affiliate programs. The organisation checks in with participants on a regular basis and assists

in communications between participants and property owners. They also manage any issues

so if a property owner has a concern with what is happening in the space or how often it is

being occupied then Renew Australia can step in to discuss this with the participant and

resolve the issue quickly. This means that through the application process and regular reviews

the best tenants are in the space – those who will contribute to the area in a meaningful way.

This work is done with the support of Places Victoria and City of Melbourne. Renew

Australia employees conduct regular inspections of Docklands Spaces participants as well as

providing support and acting as a liaison between the funding bodies, the property owners

and the participants. In this instance, the role of Renew Australia is absolutely vital and the

program would not progress if it was not for this element. Renew Australia has been pleased

to see many examples of participants going on to grow their business and move on to

commercial leases, either within Docklands or elsewhere. They have also overseen network

development amongst the participants, particularly the galleries when they were all

operational. In this way Renew Australia was able to manage the administrative aspects,

source properties, and communicate with property owners while also allowing the creative

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community to contribute their own resources and time in the best way possible by

establishing and maintaining cultural activities.

There is currently a supply and demand issue with Docklands Spaces, with many applications

on file but no new spaces available to fill. The difficulty of obtaining and confirming

properties continues to be a key hurdle for the project’s development. Future development is

also hindered by funding issues as Renew Australia is unable to operate on a long-term basis

when funding is uncertain and without long-term guarantee. While the success of the program

is apparent Renew Australia relies on funding which is often confirmed in stages. Places

Victoria and City of Melbourne have been supporters of the program however without clear

policy objectives and cultural policy strategies at a higher level the future is not always clear.

This can significantly hinder efforts to progress the program and maintain momentum.

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5.0 Positive Outcomes In summary, following the completion of detailed interviews across various Renew Australia

implementations, it is clear that there are many early indicators of success or potential hurdles

followed by a range of identified benefits that can be achieved. If the program has a dedicated

person or people managing it, is able to confirm properties for use, is focused in its efforts

and is flexible and adaptable, then it is likely it will result in successful outcomes for a range

of stakeholders. These positive outcomes can include the revitalisation of previously

unappealing spaces, the opportunities given to artists and creative entrepreneurs to begin or

grow their business or project, meaningful interaction with a space or spaces and the coming

together of community groups with common interests.

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6.0 Recurring Problems and What Can Be Done Certain problems have appeared recurrently when reviewing the various ways the Renew

Australia program has been applied. It is important to review the failures as well as the

successes in order to improve on future implementations of the program. An example of the

program ceasing due to recurrent issues is that of Renew Townsville. After just over a year of

operation Renew Townsville ceased due to an absence of ongoing funding, difficulties

obtaining and managing spaces and difficulties attracting a strong enough board to manage

the project. These potential pitfalls as well as additional ones will now be examined in more

detail.

6.1 Property Owners

Across all examples of the Renew program being implemented the issue that came up

consistently was that of reaching property owners and confirming properties to be used in the

program. Varying degrees of this appeared evident in almost all examples. Properties are

often owned by people who don’t live in the same town or even the same country which

causes issues with communication about the program itself as well as problems expressing

what impact the vacant spaces have on the community and how the program can assist. If a

property owner is unable to see the problem that is presenting itself in a community through

numerous vacant spaces, or is relatively unaffected by it, then they are less likely to care

about it or want to be involved. Distance also makes it more difficult to reach them and keep

the momentum going once a conversation is begun. In many cases a negative response is not

received but instead there is no response at all. It is also possible that the ‘pop-up’ culture

might take away some interest in this program as property owners could potentially charge a

tenant to set up a ‘pop-up’ store at a price for several weeks. This is not necessarily

commercially appealing in the long-term however it does offer some short-term financial

incentive for the property owner.

Sometimes it is the case that real estate agents are the only way of contacting the property

owners themselves. If a real estate agent does not feel positive towards the program then it is

unlikely they are going to pass on any information to the property owners. Real estate agents

may not be able to see the benefit to them of advocating for the program and may actually see

the potential tenants as causing them additional work. Overcoming these issues and

preconceived ideas is one of the most important roles that Renew Australia can play.

Information about the program needs to be communicated to real estate agents and property

owners where possible, particularly instances of successful examples. The larger the profile

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Renew Australia has, the greater impact the organisation can have on property owners and

real estate agents. Renew Australia brings with it a successful track record and a wealth of

information and can lend its professionalism to other communities looking to implement the

program. One of the participants interviewed told how they had attempted to undertake a

similar project by contacting real estate agents who managed vacant properties along Sydney

Road in Brunswick, a suburb of Melbourne. They either received no response at all or a very

negative response. This would be expected when an individual is attempting to do this alone

but is more likely to be alleviated with the backing of an organisation such as Renew

Australia.

Obtaining properties was the predominant issue faced by the affiliate Renew Devonport.

Prior to the program starting Devonport was faced with 27 empty shops spread out over 3

distinct areas. While they were passionate about the program and had received ample

applications from artists and creatives, they faced extreme difficulties in obtaining properties.

They found that most vacant properties were owned by people on the mainland or even

internationally which made it difficult to get in touch with them and explain the reasoning

behind the strategy. In this instance a local real estate agent managed 90% of the properties

and was receptive to the idea however they were unable to receive responses from the

owners. After twelve months only two properties had been made available (with a third

recently confirmed not long after the initial interview). Steps have been taken to try to

alleviate this problem. A shop opening was held in early March 2015 and property owners

were all made aware of it and invited to the launch. Council assisted with this by contacting

property owners themselves to invite them to the launch. In this regard the affiliate program

has the full support of the Council which will hopefully help over time if the program

continues.

When communicating with property owners there are a range of examples that can be drawn

on of the Renew program’s successful outcomes. From Newcastle, various affiliate programs

and Docklands there are examples of Renew participants either going on to take up

commercial leases of their own or prospective tenants signing a commercial lease once they

view the space in use. It is vital that these successful outcomes are promoted as potential

outcomes for property owners. The other element that property owners can be reassured by is

that the Renew Australia organisation, or the team who manages an affiliate program, will be

effectively managing the tenant in the space to ensure they are contributing to its upkeep in a

positive way. The best outcome for a property owner would be eventually obtaining a

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commercial lease, however the benefit in the meantime is that the participating tenant will

contribute to maintaining the space and hopefully make it more appealing to potential

commercial tenants.

It is vital that this potential issue is clear to towns that are looking to take up the affiliate

program as without properties the project will not progress. In this regard the most successful

examples seen within this research, Newcastle and Cooma, were unique in that they had

either one owner who owned many properties and agreed to the project or local owners who

could be identified and talked to personally. When speaking to the organisers in Devonport

there seemed to be a general feeling that they did not realise that this aspect of the project had

the potential to be so difficult, and as such they felt quite frustrated and did not understand

why landlords might be hesitant to participate. To those who can see the potential in the

program it can be difficult to understand why property owners may not agree to it. However

the hesitation of property owners to agree to the program shows that this element may

possibly need to be explored further as it appears there are a range of reasons why they may

not wish to participate. There could be financial incentives in the form of tax breaks available

to having the space unoccupied or they may just not see the value in it. Prior to Cooma

confirming the affiliate program they conducted their own research which indicated that

several property owners and real estate agents were either positive towards the idea or easily

accessible so conversations could be had. With this in mind preliminary research is

recommended to see if this will be a potential hurdle. It is advised to obtain as much

information about property owners and estate agents as possible prior to implementing the

program. It would be a good idea to have this as the first stage and for the program to not

progress unless this stage is completed satisfactorily. It is also important to have Council, the

Chamber of Commerce and/or other relevant organisations committed to assist in this

process.

Once a property owner (or real estate agent) has had a good experience of the program then

they can also go on to advocate for the program to other property owners where possible.

This occurred in Docklands after the first property to sign on to the program eventually

confirmed a commercial lease. Property owner James Giuliano of MDJ Investments was

happy to offer his property to small businesses Studio Batch and Musk Architecture and felt

that it made the space more appealing to potential tenants. After a commercial lease was

obtained he was happy to discuss his positive experience with the program and he also

reached out to other property owners to encourage them to take part by making their empty

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properties available (Docklands Spaces, 2015). This kind of advocacy is valuable as other

property owners can see the potential positive benefits and hear the perspective of a property

owner like themselves. In this example, Renew Australia then went on to secure other spaces

for Studio Batch and Musk Architecture, an important step that ensured that those small

businesses were not simply moved out without any support.

Renew Australia recognises that securing properties is the key to continuing on with the

program and has had at least one experience where a suburban location has not proceeded

due to this not being possible. The organisation is currently assisting a Melbourne City

Council in implementing the program and is coming up against this issue again as they are

trying to reach property owners through real estate agents. It may not be necessarily

appealing or particularly clear to a real estate agent why they should advocate for this

program and there is no way of obtaining property owners contact details to speak to them

directly. While this seems to be a common issue there are some exceptions to this such as

from an agent from Chapman Fraser in Gosford (Empty Spaces, 2015). This real estate agent

could see that empty spaces were of no benefit and that by having tenants in them it not only

made the town feel more welcoming and inclusive it also made the shops more attractive to

potential commercial tenants. Property owners and real estate agents who are willing to be

vocal about their reasoning behind being involved, as well as their positive experiences, are

crucial when moving forward with trying to secure more properties for use.

New ways of reaching out to property owners and real estate agents also needs to be

considered and clear responses to potential concerns provided. Renew Australia is looking

into other options such as holding workshops and information sessions for property owners

that will illustrate where the value is for them. If real estate agents attend sessions such as

these they will be able to receive detailed information and have their questions answered.

Where possible it is also beneficial to involve the Local Council as they can assist in

contacting property owners. Renew Australia has also experimented with having a person

who is active in the business community be involved in the sourcing and confirmation of

properties, although this was met with limited success. Part of the value in an organisation

such as Renew Australia is that they can promote the idea and communicate the benefits on a

wider level which will ideally legitimise it for property owners.

Renew Australia is best placed to coordinate strategies and attempt to come up with solutions

that may address this issue of contacting and communicating with the property owners and

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confirming available properties. The organisation can collate information about what works

and what doesn’t which will benefit future affiliates. In affiliate towns it is most likely going

to be a local person or local people who are doing the majority of work but guidelines and

support in this part of the process would be extremely valuable. Renew Australia legitimises

affiliates by showing the legality and professionalism of the program. However, it is clear the

organisation is still in the process of learning and discovering the best ways to tackle this

initial hurdle.

6.2 Neighbouring Businesses

When implementing a Renew program it is important that other businesses are taken into

account. The program will ideally have a positive impact on other local businesses as people

are drawn to the space and more inclined to stay there however there are also potential issues

that may arise. With this in mind when it comes to shops, applications will generally be

rejected if they are selling items that are already being sold in the same area. Renew

businesses should not compete directly with existing businesses. It is important that the shops

fit into the current structure of the town and that the benefits of increased foot traffic from

locals and visitors spending more time in the city centre are felt by all businesses.

This issue was encountered in Cooma when other local businesses expressed their concern

that Renew participants might take away from their potential earnings. Existing businesses

felt like these new shops were potentially taking away a portion of a decreasing and limited

amount of customer’s spending. It was determined early on that any Renew projects should

not be doing something similar to what was already being done in town however there was

still concern and uncertainty from other shop owners. A small group of businesses sent a

letter through the Chamber of Commerce expressing these negative feelings and concerns.

Following on from this a number of these businesses have now joined the Chamber of

Commerce and formed a retail sub-group. Now when a Renew shop is being considered it

needs to be reviewed by the retail sub-group before it is approved. This creates an additional

step in the process but has positive ramifications for the business community. It has also

resulted in the shop owners becoming more engaged with the community. It is important that

the goals and aims of the Renew program are communicated clearly to the local business

community in advance, so that they can see the potential positive outcomes for their

businesses.

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6.3 Consistency

A difficulty that was raised by program participants was having space filled on a consistent

basis. All of the project managers spoken to advised that it was part of the application process

to commit to opening the space or working in the space for a minimum amount of time per

week however this can be hard to monitor and sometimes hard for participants to maintain. In

some cases participants took up the licencing agreement with another person or other people

to make this more viable. Anecdotal evidence suggests that this will have a huge impact on

whether a space is successful or not. Some participants may have good intentions in the

beginning but might be unable to meet these expectations as this will often be unpaid time

they are giving to the space which is sometimes not possible. This is also an example of a

difficult working condition that artists and cultural producers face and will be discussed in

further detail below. The Renew program on its own is unable to offer any solutions to this

potential problem and it is important that participants understand how difficult this

requirement might be before committing to the space.

Themes from participant interviews suggest that having a dedicated person or people to run

the program is an important factor for success. If this is not part of the program

implementation then this can mean that the program never moves past the first stage or once

started it does not progress well. This relates to affiliate programs overall as well as project

participants themselves in all instances. During the course of this research attempts were

made to contact two other larger New South Wales Councils in order to discuss their

implementations of the Renew program, however no response was received. When visiting

towns in which the program had been implemented many of the stores listed online had

closed and there were still many vacant shopfronts. In one NSW coastal town 15 empty shops

in a small strip were observed. In this instance it would appear that there is not one dedicated

person driving the program and it has been subsumed in general Council activities. When

speaking to one of these participants they indicated that although they have achieved some

success with their small arts-based business they have not heard anything from the local

organisers since they signed up – apart from receiving the monthly invoice for the small

participation fee. This indicates that this is not a program that can be set up and then left to

run on its own, and it is not a program that can be replicated without consideration about the

location it is being applied to. Another factor that appears to be an issue for these Councils is

that the area targeted is quite large, incorporating several towns, which makes it difficult to

manage. The best examples of this program working are when those who are running it are

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passionate about the idea, focus on one contained area and put concentrated effort into

making sure it works effectively.

6.4 Gentrification

On a broader scale, the potentially negative consequences of gentrification must be

addressed. Historically, artists and creative people have moved into dead or declining towns

or suburbs in search of cheap rent and plentiful space for their practice, resulting in

regeneration of that area that attracts more affluent residents and investors. The rising rents

then mean that those who created the culture to begin with are driven out. This is why focus

cannot be on economic outcomes only. Part of what makes the Renew program appealing to

many different stakeholders is that it provides something valuable for artists and creatives

(cheap or free space) but with the recognition that program participants are giving back to the

area by bringing life and vibrancy. Artists are used to having insecure conditions and volatile

working lives however it is vital that recognition is given to what they are providing to the

space or area that they. The program needs to ensure participants are supported during their

time in the program and afterwards where possible. There can be positive aspects of

gentrification and a small-scale arts-led urban regeneration program such as Renew Australia

can enhance the positive aspects while avoiding some of the negative aspects detailed above.

6.5 Artists and Creatives

In some instances the Renew Australia program also continues to uphold some of the

unfavourable conditions faced by artists and cultural producers such as working for low or no

pay, insecurity regarding the future and exploitation. Although it is not necessarily Renew

Australia’s responsibility to affect major change in this regard it is still an element that needs

to be considered further. Generally the participants interviewed were hesitant to discuss any

criticisms or negative feedback they may have. It is clear that they feel that they cannot

complain about anything when they are receiving a free or very cheap space. This is an

underestimation of the value they bring to the space itself. While this idea comes from the

artists themselves, it is also likely to come from some of responses and feedback they get

from landlords and real estate agents. Artists and creatives are sacrificing their security and

long-term stability for resources and space. As an artist it is likely that they are used to

insecure conditions as this is generally a reality of creative pursuits. If the program is

successful it is those very same artists and creative people who are breathing life into a

previously dead town or suburb. The role of the artist or creative in this process needs to be

celebrated and support needs to be given to them in this role where possible. Encouraging

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honest feedback from participants is also vital as this information can lead to continuous

improvement for the program and lead to better outcomes.

Another difficulty, which affects artists and creatives, is the expectation and requirement that

the shop is open regularly and consistently. This can be problematic for the participants to

fulfil, as it may mean going without paid work for some time. There are still risks associated

with opening a shop or small business, even if one of those risks has been alleviated through

the use of free space. One interviewee was only able to work in his shop full time due to an

accident that left him on a disability pension. The upside to this was that he was learning new

skills related to administration and business that may hopefully assist his job search in the

future. There are many pieces of anecdotal evidence that are similar to this situation. Often it

is circumstantial for participants whether they are prepared and able to fully commit to a

space. This is an element that cannot be easily measured prior to beginning a renewal

program but needs to be considered.

In some cases the artists supplemented their income through the shop by also selling their

products online. This may be what they were originally doing prior to opening the shop or it

may have happened in conjunction with it. This can be a valuable income stream that can

assist them in being able to devote time to the shop. It is also indicative of the growth in the

global market for unique and distinctive art and craft. Makers of these items may not need to

rely on passing foot traffic but by having a shop they can actively revitalise a failing

neighbourhood through their presence. For the artists or craftsperson the valuable element to

being able to have a shop in this instance is the opportunity to interact with the public and

other like-minded creative people. Artists and creative producers are the people who

ultimately bring about the outcomes that higher level organisations are looking for when

beginning an urban regeneration project using arts-led urban renewal methods. They provide

their ‘sweat equity’ which is just as valuable (if not more so) than financial investment as it is

unique to that space and provides a place with authenticity and appeal. It is vital that these

participants are supported in whatever capacity possible.

6.6 The Wider Community

It is also important to consider the wider community when it comes to the types of cultural

activities that are adopted in a place. It has been shown that the use of creative industry policy

can result in unequal distribution of social and geographical benefits if traditional cultural

policy and social policy are not also considered (Oakley, 2004). Cities and towns may see the

38

development of a cultural precinct as a drawcard for tourists, however there needs to be an

understanding of how arts and cultural organisations sustain themselves. As well as this,

simply using traditional arts and culture as an economic development strategy may only draw

in affluent and middle-class groups. A program such as Renew cannot simply be an economic

development strategy in this way, as there will most likely be people in the community who

will not benefit from the outcomes if this is the case. The benefit of a program such as Renew

Australia is that this is not arts and culture copied from one place and attached to another in

the hope that it will draw in tourists and middle-class residents. It is designed to be adaptable

and involve a range of different community members responding to what is needed in a

particular place. Munzner and Shaw (2013) took a critical stance towards this aspect of

Renew Newcastle, feeling that it was tailored to the middle class and primarily used as an

economic development strategy which does not go on to evenly distribute the benefits. While

it may be the case that some Councils may see a Renew Australia program as an economic

development strategy, and may use economic indicators to measure its success, the reality is

that this is not the intention of the organisation itself and overwhelmingly not the feedback

from participants themselves. Those who are closely involved with the program are very clear

on the positive community benefits and the support and opportunities that can be provided to

local artists or creatives as well as the community as a whole. Ideally, all stakeholders would

consider these benefits if not more important, then at least as important, as economic

outcomes however they at least work hand in hand. It is also evident that small-scale cultural

activities such as this are much more suited to small communities and will be more likely to

bring about what a community really needs rather than just ‘art for arts’ sake’. It can be

argued that an organisation such as Renew Australia is better placed to work with local

communities to see what would be of most benefit to them. Evidence of this can be found in

the way that the Renew program incorporates all stages of production with many of its

initiatives involving the making of physical objects (Gibson et al, 2014; Banks, 2010). A

Renew program is in a prime position to recognise the skills of the local community and to

find ways for these skills to contribute to the local economy again, perhaps on a smaller scale.

This will also spread to the wider community as Renew participants engage the services of

other local businesses as was the case in Cooma.

An example of community involvement was developed initially by one of the original

participants in Renew Cooma. One of the first businesses to open was The Brown Box. The

Brown Box was set up to rent out a brown box to creative people who wished to display their

39

creations. The space was set up to entice the public in to view these displays and also offered

a creative space that people could come in and do workshops and create things through

knitting, sewing and weaving. The Brown Box also offered takeaway boxes that people could

purchase and easily begin their own projects. This shop was very community driven with one

of the organisers also developing a program that brought immigrant and refugee women

together for workshops. It was designed to be an inclusive space that welcomed different

members of the community.

There are also larger issues and community attitudes that the Renew program cannot

necessarily address due to its small-scale nature. Speaking to a local who did not have much

knowledge about the Renew Cooma program the expression ‘poor Cooma’ was stated

indicating that they saw the town as struggling to revitalise, often a common feeling among

residents in rural towns. While being unhappy about this condition this person nevertheless

went on to explain they recently bought carpet at nearby Jindabyne because the prices were

cheaper as well as how many locals were looking forward to an Ikea opening in Canberra,

while others were also strongly opposed to this. This touches on the complexity of

regeneration as community members are committed to supporting their locality in some ways

but are still influenced by a range of factors which mean they may not always actually act in

ideal ways. In this way, for the general community, sometimes a program such as Renew can

seem like not enough is being done or that it might be irrelevant to them.

6.7 Measurement

One of the issues when it comes to considering implementing a strategy such as this is

finding measurable outcomes that will indicate success or otherwise. This could be one

reason why economic indicators are fallen back on as these are generally easier to measure

and examine. One of the aims of a Renew program is to bring back “vibrancy” and

“liveability” to a given area. A simple review of how many vacant shopfronts or offices are

filled is one indicator but more robust measures of success would be beneficial and is an area

of research that could use more attention (Pedroni and Sheppard, 2013). More research such

as this, with interviews and first-hand observation will assist in painting a clearer picture of

programs such as Renew Australia and how they fit into other areas of research and policy.

Another important way of measuring these outcomes would be longitudinal studies.

Reviewing the previously vacant spaces themselves, the area the program is implemented in

as well as the wider area over a period of years would greatly assist in reviewing whether

40

these programs do contribute to long-term, sustainable change. Interviews with former

participants would also assist in contributing to the broader body of knowledge about artists

and cultural producers, their working conditions and whether having this opportunity creates

long-term sustainable change for them on an individual level.

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7.0 Where to now? This research, in conjunction with other publications and information, demonstrates that there

can be a wide range of positive outcomes for a variety of stakeholders when implementing a

Renew Australia program. However, in order to review these benefits it is vital that Local

Councils take into account more than simply the economic outcomes when a program like

this is implemented. Feedback that continually came up during interviews amongst those

involved in the program was that Councils seem to be only concerned with economic

impacts. However, there were strong feelings that the types of activities undertaken in this

program relate to a much bigger picture to do with the arts, culture and community that also

need to be addressed and examined. Further information about how councils and

governments measure outcomes to do with a program such as this, as well as information

about their high-level arts, cultural and social policies would be beneficial when considering

the implementation of a Renew Australia program.

When speaking to one Victorian Council employee, feedback was received that although they

understand this is often the perception by people outside council and government, within

these organisations this is often not the case. Within these organisations there is a strong

focus on community outcomes and benefits. In this particular case community development

was the largest portfolio within the Council and the ways that this was measured ranged from

level of participation, level of change and participant enjoyment. Communication with the

community seemed to be the biggest issue when it came to being transparent about what

internal goals are and how they are measured.

7.1 Working within a Wider Framework

How the Renew program fits into the Council’s wider goals need to be considered also. Often

there was mention about larger strategies and overall goals and objectives that the Council

might have in progress or in the early stages of being implemented. This can sometimes result

in confusion about where Renew Australia fits in, however it can easily be a part of a larger

strategy. An example of this was found in Devonport, where the local Council had recently

announced a $3 million ‘Living City’ project aiming to revitalise three precincts within the

city (Living City Devonport, 2015). This created some confusion as to how the Renew

program fit into this broader scheme of urban regeneration. Often these programs are so high-

level that they neglect the small-scale, fine grain activities that go into making a city liveable

and vibrant. That is where Renew Australia can play an important part in making immediate

and obvious changes to a city or town. When reviewing the promotional material for

42

Devonport’s ‘Living City’ developments it is clear that there is only very minimal mention of

‘arts and culture’ as part of the overall strategy.

Another important element when it comes to ‘master plans’ such as this is that strategy does

not always lead to timely and accurate implementation. The organisers of the Devonport

strategy touch on the fact that many plans have been created over previous decades without

any clear positive outcomes for the town being realised. Included on the website promoting

this development plan is a comment that securing Federal Government funding is the final

stage before the project can be implemented. Depending on how likely this funding is or how

soon it can be obtained the Renew program can be an excellent option to progress

development in the meantime. ‘Living City’ is promoted as a “bold, but realistic project to

realise a long-held dream to open the heart of the city to the waterfront and create a resilient

and robust economy” (Living City Devonport, 2015). Within this program there is a clear

emphasis on retail, business and tourism however there is also mention of creating a “cultural

heart”. For a fraction of the money allocated to this development program the Renew

Australia program could assist in nurturing the small-scale arts and culture necessary to

sustain a cultural hub as well as making an immediate and obvious impact while other long-

term goals are developed.

The problem of disconnect between master plans and how they are implemented was

recognised by Marcus Westbury when he was initially contemplating the idea of Renew

Newcastle. He could see that there were many master plans all with the same ideas about

changing the urban structure, or ‘hardware’ of the space. He also saw that these plans were

drawn and released over and over again, often with no results. Marcus recognised that what

could have a strong impact, in the immediate future, was changing how current spaces were

used or what ‘software’ was present. Artists and cultural producers are the perfect option for

bringing immediate and vibrant change to an area. Cities and towns need more than long-

term plans; they also need change and activity happening immediately.

The SGS Economics Report mentioned previously concludes with eight recommendations for

growth in cities looking to implement a similar program to Renew Newcastle. These mostly

relate to removing barriers however recommendation eight is particularly relevant to the

argument that programs such as this need to inclusive of a broad range of policy aims. It

states that cities should “be clear about what the indicators of success should be and ensure

that accurate data can be sourced to confirm the impact of renewal programs on a local place.

43

Indicators need to be more than just economic and include non-financial benefits to the social

and environmental life and wellbeing of a place.” The report “confirms what experience has

already shown; that enabling ‘creatives’ and entrepreneurs to play a leadership role in our

built environment grows the social, environmental and economic base of a place” (SGS

Economics and Planning, 2011). This report is clear on the potential benefits of a Renew

Australia program such as the Benefit Cost Ration of 10:1 however it does not disregard the

importance of an integrated and clear social and cultural policy framework that the Renew

program must work within.

7.2 Local Community

Renew Australia has also demonstrated that due to its small-scale nature it can respond to the

relevant needs of the local community in which it is operating. Despite concerns that arts and

culture can be aimed at the ‘middle-class’ the Renew program does not necessarily embody

this idea as the cultural activities and practices are drawn from the community itself. This is

an important element that should be fostered wherever possible. The flexibility of the

program in a place like Cooma meant that it was able to look outside of traditional arts and

widen the scope to include an iPhone repair store. Allowing a range of businesses to

participate allows them to attract and employ members of the community that might not

necessarily see themselves as part of the arts community, but still have something to unique

to offer that the community is in need of. This is particularly important in industrial cities or

towns to ensure that those left out of work are not shut out of the changing and developing

city too. While a Renew program cannot solve the myriad problems faced by this situation it

needs to be adaptable and flexible where possible to service the needs of a wide group of

people. Community inclusiveness can also be seen in the number of participants who also run

workshops within their space. Offering workshops can engage the wider community while

also giving people new skills or simply the opportunity to connect with others.

Towns, suburbs and cities are ultimately about the people within them. Space needs to be

used in a way that allows for a range of different activities to take place. This can happen

through planning but also on an ad-hoc basis. As society has changed and developed the ease

with which community members can use and contribute to space has also changed. This is

where an organisation such as Renew Australia can be a vital link that allows small-scale

cultural activities to continue to develop and thrive. It gives power back to the general

community by assisting to reduce barriers between the general public and the use of the space

44

they encounter. When people can access space more freely and begin to cultivate a DIY

culture then wonderful things can happen within a city or town.

7.3 Networks

The cultivation of a network is also a vital part of Renew Australia’s work. As the gap

between artists, cultural producers, and government and property owners widens, Renew

Australia can be an important conduit in strengthening and maintaining these networks. The

creation of these networks is one of the most valuable elements of the organisation. Existing

networks are often a starting point when the program is implemented and these then lead to

wider and stronger networks being created. This was evident in many locations. Organisers

undertaking a project such as Renew Australia develop networks between policy-makers and

cultural producers; networks that might not otherwise exist but are crucial for this type of

culture-led urban development (Deslandes, 2013; O’Connor and Gu, 2010). These networks

are what make the difference between a ‘top-down’ and ‘bottom-up’ approach and can

ultimately bring about more authentic and unique cultural practices and identity in a city. It

also connects the people who are closely aligned in their artistic or creative community and

potentially exposes this group of people to a wider audience, as was often the case in

Docklands.

Throughout the research the importance of Renew Australia has been evident. The provision

of legal documents that can be drawn on when facilitating licensing agreements removes one

of the barriers that stand between participants and properties. Another important aspect that

Renew Australia provides is communication between property owners, real estate agents and

participants. The Renew organisation, or its affiliate if it is being managed elsewhere, will

take the responsibility of reviewing applications and finding suitable tenants; they will also

speak to and address any concerns that a property owner might have. This is an extremely

important link that is often missing when it comes to activating empty spaces. The two

separate stakeholder groups do not often cross paths and an organisation such as Renew

Australia is therefore indispensable when it comes to creating those networks. It is vital that

Renew Australia builds on this aspect and works with local Councils to breach the gap

between participants and property owners.

7.4 Funding

Renew Australia cannot however operate in the same manner as the artists it supports – in an

uncertain and insecure state. Renew Australia currently faces an uncertain future due to

problems related to funding. This will have a large impact on the organisation’s ability to

45

successfully manage arts-led urban regeneration schemes, particularly in the long term.

Whilst the program can be run at a fairly low-level of cost it is vital that recognition is given

to the ongoing support and funding needed to for the organisation to continue in a successful

manner. If necessary, this should be through strategies related to support for the arts or small

business growth. There are many areas that a program like Renew can have an impact on,

however this can sometimes mean that funding is difficult to obtain due to the relevant policy

area being unclear.

Renew Australia is also diversifying its income sources through the creation of its affiliate

program where an annual membership of $2,500 provides affiliates with a range of benefits

including advice, support and promotion. The organisation also provides fee for service based

training, consultancy, research and other services to councils, state and federal government,

economic development professionals, developers and property owners (Renew Australia,

2015). These income sources are important as they potentially create an avenue for the

organisation to be self-sustainable without reliance on funding. How viable this is though is

unclear as there is evidence that one of the affiliates who paid the least has been most

successful – Cooma. The DIY culture that Renew Australia promotes could potentially be

affecting its position as a self-sustaining organisation.

The funding issue is also a domino effect as often funding is needed for affiliate programs in

order for them to sign up as an affiliate and begin or continue. There have been various

examples of funding found throughout this research including from local Councils, State

Government and Arts Organisations. These amounts have ranged from $2,000 to upwards of

$20,000 for an affiliate. Often the local Chamber of Commerce is also supportive and can

offer in-kind services. This diversity in support can be beneficial but it can also create

uncertainty around the program and issues with where it stands and how it is measured. A

range of diverse interests from different stakeholders needs to be managed well and goals and

objectives need to be clear. Once the program has started then funding does not need to be

extensive, with most interviewees I spoke to saying they would only need minimal funding to

continue.

7.5 Commitment and Dedication

When it comes to affiliate programs they can work very well but they need to have a local

champion (or champions) – someone who will be dedicated to the program and will commit

quite a lot of time and effort when it comes to confirming properties and selecting the right

46

participants for the space. This is something that needs to be considered by any local Council

who is thinking about their own Renew initiative. Evidence found during this research has

clearly shown that if there is not a dedicated person or small group of people, the project will

not progress very far at all. It is recommended that a person is employed in this capacity or

that it is at least a large part of their job description or tasks. Volunteers can be suitable for

this role however they need to be aware of the dedication and time that it will likely take to

make it a success. Part of the reason for this need though is for the sourcing and securing of

properties. If this step is not as difficult, for whatever reason, then perhaps the

implementation of the program will not be as time-consuming as participants seeking out

properties are generally easier to manage.

7.6 Assistance for Community Groups

The community benefits of a Renew Australia program cannot be underestimated. There are

many examples of a shopfront or working space bringing people together that were

previously working on their own at home or independently of others within their wider

community. This was shown in Devonport where the first space was occupied by

approximately 30 artists as a collective. Another example of this is Made on the Monaro in

Cooma as discussed previously. However, the insecurity of this working space cannot be

disregarded. They are aware that they could be removed from this space at any time and they

currently do not produce enough income to move to a long-term lease. With this in mind they

have applied for a community grant through the local wind farm, Boco Rock. Suzanne and

the Renew Cooma Committee have assisted the group in this application. Reminiscent of the

contribution to the community that the Snowy Hydro used to make, Boco Rock is clearly

aware of its position within the area and the need for it to contribute to local communities in a

positive way. This is an example of corporate social responsibility however the nurturing and

development of the Renew program can help get community groups to a point where they are

able to look at other long-term, sustainable options. In this regard Renew programs can work

in conjunction not only with government but with other socially responsible corporations.

Small towns in particular are a prime target for a Renew Australia program. As long as the

potential issues detailed above are kept in mind then the program can be very successful. It is

vital however that local people are included in this process. Most local people within a small

town are committed to seeing it flourish and will work together to see that happen. In many

shops there are signs that say “support local business” or something similar so the feeling

amongst people is already there. A Renew program can build on this collective feeling. One

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example visited during the course of this research was a small town that has continued to

maintain its population and appears to be quite stable. Anecdotal evidence seems to be that a

strong reason for this is the local creative community. A creative, arts-based community can

be a strong asset to a community as they are likely to support and nurture each other’s

endeavours. Another example of this kind of support can be seen in Batemans Bay where one

of the Renew participants is a Business Hub that has been set up for the explicit purpose of

supporting, assisting and promoting local businesses. Renew businesses are likely to be very

community-minded in this way which can be a great asset for a small town.

The benefits from implementing a Renew program can be innumerable. Prior to taking on

this project a range of considerations must be reviewed. It is not a ‘silver bullet’ and it is not a

cheap solution to a complex problem. A well connected and dedicated group or individual is

vital, as well as a clear strategy for getting in touch with and communicating with property

owners. Following on from that, artists and cultural producers must be supported to ensure

their impact on the area is far-reaching and that they also benefit from participating in the

program in a more sustainable way than just being able to use free space. As long as these

considerations are taken into account then implementation of the Renew Australia program

can result in excellent outcomes for a city or town.

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8.0 Conclusion The examination of Renew Australia has provided valuable insight into the potential of

culture-led, small-scale urban regeneration. The issue of vacant spaces within towns and

cities is a pressing one and this research has demonstrated how community members can

contribute to resolving this in a way that has many benefits. As an organisation set up to

facilitate this process, Renew Australia obtains property owners permission then provides

short-term leases to artists and cultural producers in order to allow them to use vacant spaces

for a range of activities. The organisation provides a practical strategy that brings vibrancy

and life to previously lifeless areas. Small-scale cultural programs such as this can have an

immediate impact on the space they are in and if nurtured properly will grow into long-term

positive change.

This research has shown that Renew Australia and its affiliate programs can provide many

benefits for various stakeholders. Positive outcomes can be found in Newcastle, Cooma,

Docklands and other areas where the program has been implemented. These worthwhile

outcomes can be achieved for minimal input provided that the focus is broader in scope than

economic outcomes only. Support and nurturing of local arts and culture is the primary

benefit however there are many flow on effects to other members of the community as well

as the stakeholders involved. The program has many positive social outcomes with examples

of community groups growing and strengthening due to having shared space. The program is

not expensive to begin however it is vital that it receives appropriate levels of support in the

form of money and time in order for it to be as successful as it can be.

One of the most valuable contributions Renew Australia makes to the urban regeneration

landscape is the development and strengthening of crucial networks. These networks include

various stakeholders such as artists and creative entrepreneurs, property owners, government

and councils and the wider community. Many of these groups would not be able to, or would

find it difficult to, maintain these networks if it were not for an organisation such as Renew

Australia.

Renew Australia then goes on to provide varying degrees of support to all involved to ensure

that participants are getting the most out of the opportunity and that the benefits are

distributed as widely as possible. Property owners can rely on the organisers of the program

to take some responsibility in ensuring their properties are well maintained and used

49

correctly. The outcomes for property owners are positive with the area that their property is in

being revitalised and possibly attracting commercial tenants.

The biggest challenge that a culture-led urban renewal program such as Renew Australia and

its affiliates may face is likely to be the difficulty in obtaining properties. Problems making

contact with property owners, working with real estate agents and explaining the program to

those who may not see the benefit present the biggest potential hurdle to program

implementation. It is important that this issue is considered in the very early stages of the

program. Other issues that may arise include the response from other businesses, negative

aspects of gentrification, impacts on the participants as they face insecure conditions and

problems relating to measuring and reporting on the impact of the program. All of these must

be considered thoroughly during the initial stages of the program and throughout its time.

The key focus for any group who is looking to implement a regeneration project such as this

should be on promoting small-scale arts and culture with an awareness of how these practices

fit into the wider community and the social outcomes that can come about from the program.

This can easily fit into a larger plan and range of strategies that are ultimately about making

towns and cities sustainable and enjoyable for those who live in them. While this program

can be implemented at a low cost it is vital that it is has a clear framework and strategy in

order for it to be as successful as possible. Information should be obtained prior to launching

the program and key areas identified to ensure that the conditions are favourable. With this in

place the program can achieve positive, immediate outcomes for the various stakeholders.

50

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