Lille, Glasgow and Rotterdam as ECOC

	This section presents the experiences of three European Capitals of Culture which are similar in character to Ostrava. All three of these cities demonstrate the hugely beneficial effect of the Capital of Culture programme for the overall development of a city – bringing improvements in infrastructure, revitalising cultural and social life, implementing long-term cultural and social projects, and forming new contacts and ties on the regional, national and European level
	LILLE – European Capital of Culture 2004 Lille is located in north-eastern France near the Belgian border. It is an industrial city and the capital of the Nord-Pas de Calais region. In 1996, Lille (with 180,000 inhabitants) merged with 86 nearby towns and communities to create the fourth largest conurbation in France – Lille Metropole – with a population of 1.2 million people. During the 1970s and 1980 Lille was hit by a wave of closures of textile factories, steelworks and coal mines which plunged the city into a period of post-industrial decline. Since these changes, Lille has re-orientated its economy to focus on the service sector. Project goals The main aim of Lille’s Capital of Culture bid was to revive not only the city itself, but the entire region of Nord-Pas de Calais. The organisers also aimed to bring about a complete change of the region’s image. This involved moving beyond the clichéd black-and-white perception of the region and putting the ‘colour’ back in Lille. The key word of the project was ‘metamorphosis’ – and the general public were to be at the heart of the transformation. The aim was to bring art to the city streets, to organise street festivals and performances, and to hold meetings between artists and the widest possible public. The art of living One of the main goals of the project was to support ‘L’Art de vivre’ – the art of living. The traditional concept of culture was extended to include cuisine, sport and design. Maisons Folie A central pillar of the project was the opening of twelve new cultural centres across the entire Lille conurbation (including three on the Belgian side of the border). These former factories and industrial sites were transformed into ‘Maisons Folie’ – ‘crazy houses’, where artists and local people could meet, discuss and feel at home. Each Maison Folie has facilities for hosting various kinds of events – theatrical performances, exhibitions, art workshops, kitchens and dining rooms, and multimedia spaces. Participation of business In addition to a network of 16,000 ‘envoys’ providing information and helping to organise events throughout the region, the Lille project also involved the local business community. Thousands of shops, restaurants and hotels bore the sign ‘Commerçant Lille 2004’, signalling their role as Capital of Culture information centres. Urban development The Lille 2004 Capital of Culture bid had a major impact on urban development and the restoration of historical buildings. The project helped to restore and renovate many local churches, the Comtesse hospice, the Rihour and Rameau palaces, and the city’s Opera. Pavements, parks and other public spaces were modernised and renovated. Over 70 million € was invested in infrastructure from national and local sources and as EU funding via the European Regional Development Fund (ERDF). Long-term benefits of the project Among the greatest achievements of Lille in 2004 were the transformation of the city’s image, its Europe-wide promotion, and the close involvement of the general public in the city’s cultural life. The people of Lille responded with great enthusiasm to the programme of cultural events, and so the city decided to build on this success and to hold the Lille 3000 festival every two years. This international event lasts for several months and each time focuses on a different theme or country (in 2004 Lille invited Polish actors, dancers, musicians and other artists to present a selection of innovative new works from the Polish cultural scene). Another example of the long-term sustainable benefits of the Capital of Culture title is the existence of Lille’s twelve ‘Maisons Folie’. These unique cultural and artistic centres provide a space for the city’s people to meet with the artists who are based there. The Maisons Folie are not in city centres, but have been located in previously derelict buildings in outlying areas, and are open to artists from all over France and other countries.
	ROTTERDAM – European Capital of Culture 2001 Rotterdam, with a population of 605,000, is the second largest city in the Netherlands and is Europe’s largest port. Rotterdam is a hard-working city with a relatively young, multicultural population. Among the city’s main social problems are low levels of education, widespread poverty and unemployment. Rotterdam is a city of modern architecture; during the Second World War a large part of the centre was destroyed in air raids, and the post-war years brought a boom in high-rise architecture that contrasts with the more typical Dutch style of low-rise brick buildings. Goals of the project The main goal of Rotterdam’s Capital of Culture bid was to improve the city’s international image, to revitalise local cultural life, to involve the general public in artistic and cultural events, and to generate long-term economic benefits through tourism and other sectors. The original presentation, ‘Mirror of a New Society’, showcased Rotterdam to the world, demonstrating the successful reconstruction of the city in the past 50 years. Strong emphasis was placed on exploring the myriad aspects of the current city and its future potential (‘Rotterdam is Many Cities’). Another important aspect of the project was the celebration of the city’s multiculturalism, forging new contacts among diverse cultures and ethnic minorities. The project also aimed to support and develop culture among young people, strengthening ties among individual artists, art institutions and the general public. ‘Rotterdam is Many Cities’ The entire Rotterdam project was based on the central motif ‘Rotterdam is Many Cities’, inspired by Italo Calvino’s story about the ‘Invisible City’. Rotterdam was divided into ten virtual cities, each of which emphasised a certain aspect of the city’s personality or a certain programme goal. There was the city of pleasure (stage arts), the city of Erasmus (public debates), the vital city or the city of the future (social and cultural programmes), young@rotterdam (programmes for young people), or the peripheral city (focusing on the port areas). The aim of this structure was to express various aspects of Rotterdam in artistic terms, and to show their contribution to the city as a whole. Development of tourism According to the Rotterdam Development Corporation, the proportion of foreign visitors to the city rose from 4% to 7% in 2001, the highest rise in the last ten years. Around 80% of foreign visitors came from EU countries, mainly from Belgium, France and Germany. The city’s European Capital of Culture status not only helped increase visitor numbers, but attracted many new visitors to the city: 22% of all visitors (and two thirds of foreign visitors) were in Rotterdam for the first time. Long-term benefits of the project The children’s cultural centre Villa Zebrawas built as part of Rotterdam’s Capital of Culture project. The centre enables children to experience art in a fun way, supporting their natural creativity and curiosity. Many other cultural institutions and activities launched in 2001 are still operating today, including the Las Palmas visual arts centre or the Motel Mozaique festival. Many of the organisers of the 2001 events were young people or members of Rotterdam’s ethnic minorities, and the Capital of Culture helped them to gain new experiences and to forge contacts with established organisations.
	GLASGOW – European City of Culture 1990 Glasgow is the largest city in Scotland and the third largest in Britain after London and Birmingham. It is an industrial city with around 620,000 inhabitants. Glasgow is a cosmopolitan city of many cultures and religions. It is currently among the most visited cities in the United Kingdom, and is often used as a base by tourists travelling to other parts of Scotland, especially the Highlands. In recent years the city has undergone a radical transformation, with modern buildings springing up in place of derelict docklands, a booming cultural life and an increasingly high quality of education. High crime remains a problem, especially in the peripheral parts of the city. Long-term benefits of the project The long-term benefits of Glasgow City of Culture 1990 have been examined in a detailed study carried out at the University of Glasgow. A very valuable benefit was found to be the increased self-confidence of local artists and artistic institutions, who became more closely involved in cooperation with national and international partners, especially in the period 1987-1994. Some cultural projects set up in 1990 continued for several years afterwards (such as the Streetbiz festival). Other events are still held today (such as the festival Call That Singing!), and many local artists and organisations have been inspired by Glasgow’s City of Culture status to refocus their activities or branch out into new activities (e.g. Fablevision, Project Ability, Birds of Paradise, Giant Productions, Cranhill Arts Project). City of Culture 1990 also promoted the idea of holding cultural events at a diverse range of venues throughout the city – and this has since become an established feature of Glasgow’s cultural life. Another positive impact of City of Culture 1990 was Glasgow’s successful bid to become the UK’s City of Architecture and Design in 1999, which led to projects such as Lighthouse (Scotland’s Centre for Architecture, Design and the City). Spurred on by the success of 1990, the city also decided to hold a Visual Arts Festival in 1996. City of Culture status brought a considerable expansion of the range of jobs in arts and culture – especially in music and film production, publishing and design. Further benefits were felt in the social sphere (improving access to culture and promoting the participation of socially disadvantaged groups in arts), and in the development of local and international links among cultural organisations. Improving the city’s image A major long-term benefit of Glasgow’s City of Culture status was the dramatic turnaround in the city’s image. Glasgow is no longer perceived as a bleak and violent post-industrial city, but as a creative venue for culture and recreation, one of Britain’s most vibrant metropolitan centres. Improving the city’s infrastructure One example of improvements to Glasgow’s infrastructure is the building of new avant-garde cultural venues such as The Tramway (a centre for modern visual and performance art located in a former tram depot and workshop), The Arches (an independent arts centre providing a stage for both established and new talents, organising concerts, theatrical performances, exhibitions, club events, social events and more), the renovation of the MacLellan Gallery (displaying the city’s art collections), the flagship Royal Concert Hall project, the reconstruction of the Scotland Street School (designed by Charles Rennie Mackintosh), and improvements to public spaces in the city centre. A further benefit of 1990 was a growth in visitor numbers, which led to increased hotel capacity and better public services, including new shopping and recreation centres. Economic growth Glasgow’s City of Culture status in 1990 has made the city increasingly attractive as a centre of commerce and economic activity. Many pilot projects launched in 1990 – especially in the film and music industries – have proved successful, and have received long-term support from the city (e.g. the Glasgow Film Office, the Film City Business Centre, the Music Business Development Programme, and the Cultural Enterprise Office). Development of tourism One of the major long-term benefits of 1990 has been the development of tourism, especially cultural tourism, with an increasing number of visitors coming to Glasgow to participate in the city’s cultural life. Before 1990, Glasgow was seen mainly as the gateway to the Scottish Highlands and other traditional tourist destinations. Now, thanks to its City of Culture status, Glasgow has become a major tourist destination in its own right, and is now the third largest tourist centre in Britain.