This research – based on 100+ survey responses, 12 depth interviews, and analysis of nearly 200 other Hubs – provides the starting point for understanding Europe’s Creative Hubs. It sets out who they are, what they do, and what support they need.

1. Who they are, what they do
EUROPE’S CREATIVE HUBSEUROPE’S CREATIVE HUBSEUROPE’S CREATIVE HUBSEUROPE’S CREATIVE HUBS
EUROPE’S CREATIVE HUBS
Who they are, what they do
Summary report – 2015

2. This research – based on 100+ survey responses, 12 depth interviews, and
analysis of nearly 200 other Hubs – provides the starting point for understanding
Europe’s Creative Hubs. It sets out who they are, what they do, and what support
they need. It shows:
● There are a huge variety of Creative Hubs, with a range of public and private
funded organisations running Hubs. Around one-third receive no public
funding. This diversity of business models makes it hard to provide effective
support to the sector as a whole.
● To manage this diversity, we can break Hubs down into two groups: space-
based Hubs (Studios or Centres) and place-based Hubs (Clusters or Networks).
Executive Summary
42% of our sample are non42% of our sample are non42% of our sample are non42% of our sample are non----profits.profits.profits.profits.
One quarter are governmentOne quarter are governmentOne quarter are governmentOne quarter are government
agencies.agencies.agencies.agencies.
Three quarters aim to support theirThree quarters aim to support theirThree quarters aim to support theirThree quarters aim to support their
local economies and the same tolocal economies and the same tolocal economies and the same tolocal economies and the same to
support their local communities.support their local communities.support their local communities.support their local communities.
22222222%%%% of Hub Managers askof Hub Managers askof Hub Managers askof Hub Managers ask forforforfor
managementmanagementmanagementmanagement support to help themsupport to help themsupport to help themsupport to help them
manage the range of skills neededmanage the range of skills neededmanage the range of skills neededmanage the range of skills needed
to run their Hubs.to run their Hubs.to run their Hubs.to run their Hubs.
HEADLINESHEADLINESHEADLINESHEADLINES
EUROPE’S CREATIVE HUBS
● All Hubs aim to make a difference – to businesses, economies, and
communities. Interviews identified evidence of this impact as a key research
gap.
● To help reach their potential, Hub Managers need support to manage the
range of challenges they face from advocacy to growth management. The
proposed network is important in helping them to do this.
● But most of all, they are hungry for investment to help them develop new
facilities and new services. EU funding programmes may not work for them.
● Hubs are optimistic and they feel their time has come. As recognition for the
Creative Industries grows, so does the optimism of Hub Managers, who see
themselves as drivers of this change.
to run their Hubs.to run their Hubs.to run their Hubs.to run their Hubs.
90% are optimistic about the90% are optimistic about the90% are optimistic about the90% are optimistic about the future.future.future.future.
The major reason for pessimism isThe major reason for pessimism isThe major reason for pessimism isThe major reason for pessimism is
lack of funding.lack of funding.lack of funding.lack of funding.
Around half have applied for EUAround half have applied for EUAround half have applied for EUAround half have applied for EU
Funds, but fewFunds, but fewFunds, but fewFunds, but few have wonhave wonhave wonhave won them.them.them.them.
2

3. Contents
This research aims to set the contextThis research aims to set the contextThis research aims to set the contextThis research aims to set the context for andfor andfor andfor and to better understand Europe’s creative hubsto better understand Europe’s creative hubsto better understand Europe’s creative hubsto better understand Europe’s creative hubs
OVERVIEWOVERVIEWOVERVIEWOVERVIEW
IntroductionIntroductionIntroductionIntroduction 4444
Where are Europe’s Creative HubsWhere are Europe’s Creative HubsWhere are Europe’s Creative HubsWhere are Europe’s Creative Hubs 5555
TypologyTypologyTypologyTypology 6666
Operating modelsOperating modelsOperating modelsOperating models 7777
KEY ISSUESKEY ISSUESKEY ISSUESKEY ISSUES
ImpactImpactImpactImpact 8888
EUROPE’S CREATIVE HUBS
EUROPE’S CREATIVE HUBSEUROPE’S CREATIVE HUBSEUROPE’S CREATIVE HUBSEUROPE’S CREATIVE HUBS is ais ais ais a report authoredreport authoredreport authoredreport authored bybybyby
Callum LeeCallum LeeCallum LeeCallum Lee ofofofof BOP Consulting on behalfBOP Consulting on behalfBOP Consulting on behalfBOP Consulting on behalf ofofofof thethethethe
European Creative BusinessEuropean Creative BusinessEuropean Creative BusinessEuropean Creative Business Network (ECBNNetwork (ECBNNetwork (ECBNNetwork (ECBN).The).The).The).The studystudystudystudy
waswaswaswas part ofpart ofpart ofpart of a collaborativea collaborativea collaborativea collaborative projectprojectprojectproject between ECBNbetween ECBNbetween ECBNbetween ECBN,,,,
ADDICTADDICTADDICTADDICT,,,, Creative IndustriesCreative IndustriesCreative IndustriesCreative Industries Portugal, and thePortugal, and thePortugal, and thePortugal, and the BritishBritishBritishBritish
CouncilCouncilCouncilCouncil....
Produced by Callum Lee (BOP Consulting ,Produced by Callum Lee (BOP Consulting ,Produced by Callum Lee (BOP Consulting ,Produced by Callum Lee (BOP Consulting ,
www.bopconsulting.euwww.bopconsulting.euwww.bopconsulting.euwww.bopconsulting.eu), with Gemma Hutchinson,), with Gemma Hutchinson,), with Gemma Hutchinson,), with Gemma Hutchinson,
KristinaKristinaKristinaKristina OrasaninOrasaninOrasaninOrasanin & Melanie Esteves& Melanie Esteves& Melanie Esteves& Melanie EstevesImpactImpactImpactImpact 8888
Business ModelsBusiness ModelsBusiness ModelsBusiness Models 8888
Support NeedsSupport NeedsSupport NeedsSupport Needs 9999
THE FUTURETHE FUTURETHE FUTURETHE FUTURE
OptimismOptimismOptimismOptimism 11111111
PessimismPessimismPessimismPessimism 12121212
FundingFundingFundingFunding 14141414
ConclusionConclusionConclusionConclusion 15151515
3
KristinaKristinaKristinaKristina OrasaninOrasaninOrasaninOrasanin & Melanie Esteves& Melanie Esteves& Melanie Esteves& Melanie Esteves
Thanks to:Thanks to:Thanks to:Thanks to:
• Bernd Fesel, Mehjabeen Price, Michal Hladky & LeoBernd Fesel, Mehjabeen Price, Michal Hladky & LeoBernd Fesel, Mehjabeen Price, Michal Hladky & LeoBernd Fesel, Mehjabeen Price, Michal Hladky & Leo
van Loon (ECBN Executive Board)van Loon (ECBN Executive Board)van Loon (ECBN Executive Board)van Loon (ECBN Executive Board)
• Cristina Farina, Rui Monteiro, & Bruno Pires (ADDICT)Cristina Farina, Rui Monteiro, & Bruno Pires (ADDICT)Cristina Farina, Rui Monteiro, & Bruno Pires (ADDICT)Cristina Farina, Rui Monteiro, & Bruno Pires (ADDICT)
• Lynsey Smith & Ben Evans (British Council)Lynsey Smith & Ben Evans (British Council)Lynsey Smith & Ben Evans (British Council)Lynsey Smith & Ben Evans (British Council)
• Jonathan RobinsonJonathan RobinsonJonathan RobinsonJonathan Robinson
• Janine Matheson (Creative Edinburgh)Janine Matheson (Creative Edinburgh)Janine Matheson (Creative Edinburgh)Janine Matheson (Creative Edinburgh)
And all the Hub managers who contributed or took partAnd all the Hub managers who contributed or took partAnd all the Hub managers who contributed or took partAnd all the Hub managers who contributed or took part

4. Our approach
- Preliminary consultation with stakeholders to understand keyPreliminary consultation with stakeholders to understand keyPreliminary consultation with stakeholders to understand keyPreliminary consultation with stakeholders to understand key
issues facing Hubs.issues facing Hubs.issues facing Hubs.issues facing Hubs.
The argument for the value of culture and creative industries in EuropeThe argument for the value of culture and creative industries in EuropeThe argument for the value of culture and creative industries in EuropeThe argument for the value of culture and creative industries in Europe
hashashashas largely beenlargely beenlargely beenlargely been wonwonwonwon –––– they help create societies that are worth living in,they help create societies that are worth living in,they help create societies that are worth living in,they help create societies that are worth living in,
and they are central to any successful, prosperous economy.and they are central to any successful, prosperous economy.and they are central to any successful, prosperous economy.and they are central to any successful, prosperous economy.
So the big question for government or those working in the sector is noSo the big question for government or those working in the sector is noSo the big question for government or those working in the sector is noSo the big question for government or those working in the sector is no
longerlongerlongerlonger whywhywhywhy should we invest, butshould we invest, butshould we invest, butshould we invest, but howhowhowhow should we invest. And, therefore,should we invest. And, therefore,should we invest. And, therefore,should we invest. And, therefore,
they need newthey need newthey need newthey need new evidenceevidenceevidenceevidence totototo helphelphelphelp makemakemakemake these new decisions.these new decisions.these new decisions.these new decisions.
One gap in the research is around the Creative Hub, an elusiveOne gap in the research is around the Creative Hub, an elusiveOne gap in the research is around the Creative Hub, an elusiveOne gap in the research is around the Creative Hub, an elusive
organisation defined by us as an “infrastructure or venue that uses a partorganisation defined by us as an “infrastructure or venue that uses a partorganisation defined by us as an “infrastructure or venue that uses a partorganisation defined by us as an “infrastructure or venue that uses a part
of its leasable or available space for networking, organisational andof its leasable or available space for networking, organisational andof its leasable or available space for networking, organisational andof its leasable or available space for networking, organisational and
business development within the cultural and creative industriesbusiness development within the cultural and creative industriesbusiness development within the cultural and creative industriesbusiness development within the cultural and creative industries
Introduction
EUROPE’S CREATIVE HUBS
- Structured web search to identify nearly 200 Creative Hubs asStructured web search to identify nearly 200 Creative Hubs asStructured web search to identify nearly 200 Creative Hubs asStructured web search to identify nearly 200 Creative Hubs as
well as basic data on size, type, location.well as basic data on size, type, location.well as basic data on size, type, location.well as basic data on size, type, location.
- Short survey circulated through ECBN members and inShort survey circulated through ECBN members and inShort survey circulated through ECBN members and inShort survey circulated through ECBN members and in
registration for the European Creative Hubs Forum (held inregistration for the European Creative Hubs Forum (held inregistration for the European Creative Hubs Forum (held inregistration for the European Creative Hubs Forum (held in
Lisbon in January 2015) . This was open between DecemberLisbon in January 2015) . This was open between DecemberLisbon in January 2015) . This was open between DecemberLisbon in January 2015) . This was open between December
2014 and February 2015. Additional responses were included2014 and February 2015. Additional responses were included2014 and February 2015. Additional responses were included2014 and February 2015. Additional responses were included
from other ECBN members and project partners to increasefrom other ECBN members and project partners to increasefrom other ECBN members and project partners to increasefrom other ECBN members and project partners to increase
sample sizes and fill gaps.sample sizes and fill gaps.sample sizes and fill gaps.sample sizes and fill gaps.
- 12 detailed interviews with Hub managers, half of which were12 detailed interviews with Hub managers, half of which were12 detailed interviews with Hub managers, half of which were12 detailed interviews with Hub managers, half of which were
at the Forum and half as follow ups.at the Forum and half as follow ups.at the Forum and half as follow ups.at the Forum and half as follow ups.
- Summary Report launched May 2015, with listings and locationSummary Report launched May 2015, with listings and locationSummary Report launched May 2015, with listings and locationSummary Report launched May 2015, with listings and location
data made open and available online.data made open and available online.data made open and available online.data made open and available online.
business development within the cultural and creative industriesbusiness development within the cultural and creative industriesbusiness development within the cultural and creative industriesbusiness development within the cultural and creative industries
sectors.”*sectors.”*sectors.”*sectors.”*
This researchThis researchThis researchThis research –––– based on 100+ survey responses, 12 depth interviews,based on 100+ survey responses, 12 depth interviews,based on 100+ survey responses, 12 depth interviews,based on 100+ survey responses, 12 depth interviews,
and analysis of nearly 200 other Hubsand analysis of nearly 200 other Hubsand analysis of nearly 200 other Hubsand analysis of nearly 200 other Hubs –––– aims to provide a starting pointaims to provide a starting pointaims to provide a starting pointaims to provide a starting point
for this debate by providing first indications of who these Hubs are, whatfor this debate by providing first indications of who these Hubs are, whatfor this debate by providing first indications of who these Hubs are, whatfor this debate by providing first indications of who these Hubs are, what
they do, and the support that they need.they do, and the support that they need.they do, and the support that they need.they do, and the support that they need.
We hope these findings provides a base from which further research canWe hope these findings provides a base from which further research canWe hope these findings provides a base from which further research canWe hope these findings provides a base from which further research can
be commissioned, and which will ultimately improve the support offeredbe commissioned, and which will ultimately improve the support offeredbe commissioned, and which will ultimately improve the support offeredbe commissioned, and which will ultimately improve the support offered
to Creative Hubs, and so the contribution that the cultural and creativeto Creative Hubs, and so the contribution that the cultural and creativeto Creative Hubs, and so the contribution that the cultural and creativeto Creative Hubs, and so the contribution that the cultural and creative
industries make, across Europe.industries make, across Europe.industries make, across Europe.industries make, across Europe.
4
*See creativehubs.org/en/creative-hubs-project/what-is-a-
creative-hub

5. EUROPE’S CREATIVE HUBS
Our sample
But it’s neither a preciseBut it’s neither a preciseBut it’s neither a preciseBut it’s neither a precise
mmmmaaaappppppppiiiinnnngggg oooorrrr ppppeeeerrrrffffeeeecccctttt ssssaaaammmmpppplllleeee....
WWWWeeee hhhhaaaadddd mmmmoooorrrreeee HHHHuuuubbbbssss ffffrrrroooommmm tttthhhheeee
UUUUKKKK,,,, PPPPoooorrrrttttuuuuggggaaaallll &&&& NNNNeeeetttthhhheeeerrrrllllaaaannnnddddssss
than expectedthan expectedthan expectedthan expected ––––rrrreeeepppprrrreeeesssseeeennnnttttiiiinnnngggg
the contacts of thethe contacts of thethe contacts of thethe contacts of the
organisations whoorganisations whoorganisations whoorganisations who
sponsored the study.sponsored the study.sponsored the study.sponsored the study.
The 300 Hubs we studied cameThe 300 Hubs we studied cameThe 300 Hubs we studied cameThe 300 Hubs we studied came
from 24 of the 28 EU nations.from 24 of the 28 EU nations.from 24 of the 28 EU nations.from 24 of the 28 EU nations.
The sample is fairly well balancedThe sample is fairly well balancedThe sample is fairly well balancedThe sample is fairly well balanced
at an EU level. The 100 Hubsat an EU level. The 100 Hubsat an EU level. The 100 Hubsat an EU level. The 100 Hubs
who responded to the surveywho responded to the surveywho responded to the surveywho responded to the survey
were representative of High andwere representative of High andwere representative of High andwere representative of High and
Low Creative Intensity countries.Low Creative Intensity countries.Low Creative Intensity countries.Low Creative Intensity countries.
3%
3%
4%
5%
5%
7%
8%
9%
16%
23%
Estonia
Italy
Austria
France
Belgium
Germany
Portugal
Spain
Netherlands
UK
Origin
TTTThhhheeee ssssuuuurrrrvvvveeeeyyyy ssssaaaammmmpppplllleeee ((((wwwwhhhheeeerrrreeee
many of the findings aremany of the findings aremany of the findings aremany of the findings are
drawn from) is particularlydrawn from) is particularlydrawn from) is particularlydrawn from) is particularly
oooovvvveeeerrrr rrrreeeepppprrrreeeesssseeeennnnttttaaaattttiiiivvvveeee ooooffff tttthhhheeeesssseeee
groups.groups.groups.groups.
5
1%
1%
1%
1%
1%
1%
1%
1%
1%
1%
2%
2%
2%
2%
3%
Croatia
Cyprus
Malta
Poland
Luxembourg
Romania
Slovakia
Sweden
Denmark
Latvia
Czech Republic
Hungary
Greece
Ireland
Estonia
Hubs in
study EU pop.
Countries with HighCountries with HighCountries with HighCountries with High
Creative IntensityCreative IntensityCreative IntensityCreative Intensity
Those with high proportions
of CI jobs as % of total*
71%71%71%71% 64%64%64%64%
Countries with LowCountries with LowCountries with LowCountries with Low
Creative IntensityCreative IntensityCreative IntensityCreative Intensity
Those with low proportions of
CI jobs as % of total
29%29%29%29% 36%36%36%36%
*See The European Cluster
Observatory (2011) Priority
Sector Report: Creative and
Cultural Industries

6. EUROPE’S CREATIVE HUBS
Using the data, we identified four distinct
types of Creative Hub
STUDIO CENTRES CLUSTERS NETWORKS
Smaller, niche creativeSmaller, niche creativeSmaller, niche creativeSmaller, niche creative
spaces, like Coworkingspaces, like Coworkingspaces, like Coworkingspaces, like Coworking
Halfway between aHalfway between aHalfway between aHalfway between a
Factory and a Network.Factory and a Network.Factory and a Network.Factory and a Network.
These Hubs don’t runThese Hubs don’t runThese Hubs don’t runThese Hubs don’t run
physical spaces (althoughphysical spaces (althoughphysical spaces (althoughphysical spaces (although
HUBS BASED AROUNDHUBS BASED AROUNDHUBS BASED AROUNDHUBS BASED AROUND PLACESPLACESPLACESPLACES
Larger, physical spaces.Larger, physical spaces.Larger, physical spaces.Larger, physical spaces.
Like StrijpLike StrijpLike StrijpLike Strijp----S in theS in theS in theS in the
HUBS BASED AROUNDHUBS BASED AROUNDHUBS BASED AROUNDHUBS BASED AROUND SPACESSPACESSPACESSPACES
spaces, like Coworkingspaces, like Coworkingspaces, like Coworkingspaces, like Coworking
Salzburg in Austria.Salzburg in Austria.Salzburg in Austria.Salzburg in Austria.
18% of our sample.18% of our sample.18% of our sample.18% of our sample.
WeWeWeWe defined these asdefined these asdefined these asdefined these as
physical spaces supportingphysical spaces supportingphysical spaces supportingphysical spaces supporting
fewer than 20fewer than 20fewer than 20fewer than 20 businesses.businesses.businesses.businesses.
Factory and a Network.Factory and a Network.Factory and a Network.Factory and a Network.
These include both bigThese include both bigThese include both bigThese include both big
networks and physicalnetworks and physicalnetworks and physicalnetworks and physical
spaces, like Brighton Fusespaces, like Brighton Fusespaces, like Brighton Fusespaces, like Brighton Fuse
in the UK.in the UK.in the UK.in the UK.
16% of our sample16% of our sample16% of our sample16% of our sample....
Physical spaces but also aPhysical spaces but also aPhysical spaces but also aPhysical spaces but also a
large networklarge networklarge networklarge network
physical spaces (althoughphysical spaces (althoughphysical spaces (althoughphysical spaces (although
they may use them) butthey may use them) butthey may use them) butthey may use them) but
they are oftenthey are oftenthey are oftenthey are often based on abased on abased on abased on a
geographical area, likegeographical area, likegeographical area, likegeographical area, like
Portugal’s ADDICT.Portugal’s ADDICT.Portugal’s ADDICT.Portugal’s ADDICT.
19% of our sample. These19% of our sample. These19% of our sample. These19% of our sample. These
have no physicalhave no physicalhave no physicalhave no physical space.space.space.space.
Like StrijpLike StrijpLike StrijpLike Strijp----S in theS in theS in theS in the
Netherlands.Netherlands.Netherlands.Netherlands.
47% of our sample.47% of our sample.47% of our sample.47% of our sample.
Physical spacesPhysical spacesPhysical spacesPhysical spaces
supporting more than 20supporting more than 20supporting more than 20supporting more than 20
businesses.businesses.businesses.businesses.
On average, these have:
20 Businesses
EUR 210k Turnover
3.5 FTE staff
On average, these have:
40 Businesses
EUR 120K Turnover
9 FTE staff
6Base: 44; 35

7. EUROPE’S CREATIVE HUBS
#1#1#1#1 HelpingHelpingHelpingHelping
businesses to connectbusinesses to connectbusinesses to connectbusinesses to connect
#2#2#2#2 Supporting theSupporting theSupporting theSupporting the
local creativelocal creativelocal creativelocal creative
economyeconomyeconomyeconomy
#3#3#3#3 Supporting theSupporting theSupporting theSupporting the
local communitylocal communitylocal communitylocal community
Hubs feel they make a difference in three
main ways
“We invest part of our“We invest part of our“We invest part of our“We invest part of our
income from rent intoincome from rent intoincome from rent intoincome from rent into
making the buildingmaking the buildingmaking the buildingmaking the building
intointointointo artartartart----workworkworkwork and intoand intoand intoand into
“Bringing artists“Bringing artists“Bringing artists“Bringing artists &&&&
residentsresidentsresidentsresidents togethertogethertogethertogether ––––
supporting the areassupporting the areassupporting the areassupporting the areas
creative environmentcreative environmentcreative environmentcreative environment
“We help“We help“We help“We help freelancers &freelancers &freelancers &freelancers &
locationlocationlocationlocation independentindependentindependentindependent
workers be moreworkers be moreworkers be moreworkers be more
socially connected,socially connected,socially connected,socially connected, intointointointo artartartart----workworkworkwork and intoand intoand intoand into
creative projects increative projects increative projects increative projects in
neighbourhoods”neighbourhoods”neighbourhoods”neighbourhoods”
creative environmentcreative environmentcreative environmentcreative environment
whilstwhilstwhilstwhilst promotingpromotingpromotingpromoting it asit asit asit as
vibrant, creative, sociallyvibrant, creative, sociallyvibrant, creative, sociallyvibrant, creative, socially
engaged and welcoming.”engaged and welcoming.”engaged and welcoming.”engaged and welcoming.”
socially connected,socially connected,socially connected,socially connected,
productive andproductive andproductive andproductive and happy”happy”happy”happy”
7
84%84%84%84%
of Hubs saidof Hubs saidof Hubs saidof Hubs said they did thisthey did thisthey did thisthey did this
76%76%76%76%
of Hubs saidof Hubs saidof Hubs saidof Hubs said they did thisthey did thisthey did thisthey did this
74%74%74%74%
of Hubs saidof Hubs saidof Hubs saidof Hubs said they did thisthey did thisthey did thisthey did this
Base: 68
... But interviews with Hub Managers suggested few have robust evidence of their own impact... But interviews with Hub Managers suggested few have robust evidence of their own impact... But interviews with Hub Managers suggested few have robust evidence of their own impact... But interviews with Hub Managers suggested few have robust evidence of their own impact

8. 67%
54% 33%
EUROPE’S CREATIVE HUBS
Source of funding
1 in 3 receive no public funding. On average, Places Hubs received more
than Spaces Hubs. Non-profits are the largest group.
Hubs have a wide range of funding models
Earned IncomeEarned IncomeEarned IncomeEarned Income Public FundsPublic FundsPublic FundsPublic Funds
A non-profit (e.g.
Community)
42%42%42%42%
Part of government 27%27%27%27%
Organisation type
46% 67%
SPACES PLACES
8Base: 94; 94; 44; 40
Part of government 27%27%27%27%
A business (i.e. Profit
making)
24%24%24%24%
Part of a University 7%7%7%7%

9. EUROPE’S CREATIVE HUBS
Hubs ask for funding and resources,
but also management support
22%22%22%22%
42%42%42%42%
managementmanagementmanagementmanagement
supportsupportsupportsupport
funding or resourcesfunding or resourcesfunding or resourcesfunding or resources
As % of total requests for support
Our interviews suggest HubsOur interviews suggest HubsOur interviews suggest HubsOur interviews suggest Hubs
are run by passionate,are run by passionate,are run by passionate,are run by passionate,
committed andcommitted andcommitted andcommitted and
entrepreneurial individuals.entrepreneurial individuals.entrepreneurial individuals.entrepreneurial individuals.
But many recognised gaps inBut many recognised gaps inBut many recognised gaps inBut many recognised gaps in
their expertise and lackedtheir expertise and lackedtheir expertise and lackedtheir expertise and lacked
resources to address themresources to address themresources to address themresources to address them
14%14%14%14%
14%14%14%14%
internationalinternationalinternationalinternational
networkingnetworkingnetworkingnetworking
support forsupport forsupport forsupport for
businessesbusinessesbusinessesbusinesses
resources to address themresources to address themresources to address themresources to address them
(overleaf).(overleaf).(overleaf).(overleaf).
The British Council areThe British Council areThe British Council areThe British Council are
developing adeveloping adeveloping adeveloping a HubKitHubKitHubKitHubKit for Hubfor Hubfor Hubfor Hub
Managers, from Spring 2015Managers, from Spring 2015Managers, from Spring 2015Managers, from Spring 2015
9Base: 94

10. EUROPE’S CREATIVE HUBS
Hub Managers asked for management
support in three main areas
“Help me with Hub
management”
“Help me improve
the services I offer”
“Help me with
advocacy or
communications”
● Growth managementGrowth managementGrowth managementGrowth management to
support scaling up, or in
reaching new markets.
● Bureaucratic or governancegovernancegovernancegovernance
issuesissuesissuesissues to support relationship
● Delivering an effective
programmeprogrammeprogrammeprogramme of activity.
● EffectiveEffectiveEffectiveEffective collaborationcollaborationcollaborationcollaboration with
local universities.
● Marketing and brandingMarketing and brandingMarketing and brandingMarketing and branding.
● AdvocacyAdvocacyAdvocacyAdvocacy to promote the
creative and digital sector,
or national lobbying for the
creative industriesissuesissuesissuesissues to support relationship
with funders or government.
● BusinessBusinessBusinessBusiness modelmodelmodelmodel or cash flow
issues, such as operating
without subsidy, maximising
economic return.
● Establishing a collective
visionvisionvisionvision.
● BestBestBestBest practicepracticepracticepractice for my situation,
such as creating a rural hub.
● Enabling cross innovationcross innovationcross innovationcross innovation.
● MeetingMeetingMeetingMeeting partners andpartners andpartners andpartners and
collaboratorscollaboratorscollaboratorscollaborators.
● MarketMarketMarketMarket researchresearchresearchresearch to understand
the context that they work in.
creative industries
● ChangingChangingChangingChanging the mindset ofthe mindset ofthe mindset ofthe mindset of
entrepreneursentrepreneursentrepreneursentrepreneurs in the area
to understand the value of
these support services.
InternationalisationInternationalisationInternationalisationInternationalisation was a crosswas a crosswas a crosswas a cross----cuttingcuttingcuttingcutting
theme, mentioned in alltheme, mentioned in alltheme, mentioned in alltheme, mentioned in all three categoriesthree categoriesthree categoriesthree categories
10Base: 94

11. EUROPE’S CREATIVE HUBS
Hubs feel their “time has come”
90% of Hubs are optimistic about the future, for three main reasons:
1.1.1.1.EnthusiasmEnthusiasmEnthusiasmEnthusiasm 2.2.2.2. GrowingGrowingGrowingGrowing 3. Growing3. Growing3. Growing3. Growing1.1.1.1.EnthusiasmEnthusiasmEnthusiasmEnthusiasm
& support of& support of& support of& support of
membersmembersmembersmembers
2.2.2.2. GrowingGrowingGrowingGrowing
recognition of therecognition of therecognition of therecognition of the
Creative IndustriesCreative IndustriesCreative IndustriesCreative Industries
and of...and of...and of...and of...
3. Growing3. Growing3. Growing3. Growing
recognition ofrecognition ofrecognition ofrecognition of HubsHubsHubsHubs’’’’
role in the localrole in the localrole in the localrole in the local &&&&
nationalnationalnationalnational economiceconomiceconomiceconomic
contextcontextcontextcontext
11Base: 70

12. EUROPE’S CREATIVE HUBS
...there is one major reason for
pessimism, which we heard often
“I“I“I“I don’t havedon’t havedon’t havedon’t have
anyanyanyany money”money”money”money”
All pessimistic Hubs
report funding as a
“I“I“I“I don’t havedon’t havedon’t havedon’t have
anyanyanyany money”money”money”money”
12
report funding as a
reason for gloom
Base: 24

13. EUROPE’S CREATIVE HUBS
... managers want these funds as an
investment in their work, not just to cover costs
If you had more funding, what would you do?
“We would invest in“We would invest in“We would invest in“We would invest in“We would invest in better“We would invest in better“We would invest in better“We would invest in better ““““Funded business residencies toFunded business residencies toFunded business residencies toFunded business residencies to “We would invest in“We would invest in“We would invest in“We would invest in
bbbbeeeetttttttteeeerrrr eeeeqqqquuuuiiiippppmmmmeeeennnntttt,,,, bbbbeeeetttttttteeeerrrr
training, and also bringtraining, and also bringtraining, and also bringtraining, and also bring
people from abroad topeople from abroad topeople from abroad topeople from abroad to
provide a differentprovide a differentprovide a differentprovide a different
insightinsightinsightinsight.”.”.”.”
“We would invest in better“We would invest in better“We would invest in better“We would invest in better
salaries, on operating costs,salaries, on operating costs,salaries, on operating costs,salaries, on operating costs,
better security,better security,better security,better security,
accommodations foraccommodations foraccommodations foraccommodations for
guests, as well asguests, as well asguests, as well asguests, as well as
moremoremoremore lecturerslecturerslecturerslecturers.”.”.”.”
““““Funded business residencies toFunded business residencies toFunded business residencies toFunded business residencies to
encourage more smallencourage more smallencourage more smallencourage more small
businesses to engage with thebusinesses to engage with thebusinesses to engage with thebusinesses to engage with the
University in a meaningful wayUniversity in a meaningful wayUniversity in a meaningful wayUniversity in a meaningful way
through buying out some ofthrough buying out some ofthrough buying out some ofthrough buying out some of
their time. We are in atheir time. We are in atheir time. We are in atheir time. We are in a
developing economy and wedeveloping economy and wedeveloping economy and wedeveloping economy and we
need to incentivize investmentneed to incentivize investmentneed to incentivize investmentneed to incentivize investment
in research and development.“in research and development.“in research and development.“in research and development.“
13Source: Interviews

14. EUROPE’S CREATIVE HUBS
47%
Applied to EU funding
Applied for
funds from...
... and who’ve
won funding
Creative
Europe
17%17%17%17% 13%13%13%13%
Money is an issue yet few have won the EU
funding that is directed at the cultural and
creative sectors
53%
47%
yes
no
Europe
17%17%17%17% 13%13%13%13%
ERDF 23%23%23%23% 13%13%13%13%
14Base: 70
Interviews suggested the funds were not suitable for
many – but more research is needed here.

15. EUROPE’S CREATIVE HUBS
1. There are a huge variety of Creative Hubs. Future research should try
to target subgroups of Hubs, as they have different operating and
funding models and will require different support.
2. One common thread is that all Creative Hubs aim to make a difference
– to businesses, economies, and communities. Interviews identified
evidence of impact as a research gap, however.
3. To help reach their potential, Hub Managers need support to manage
Conclusions
3. To help reach their potential, Hub Managers need support to manage
the range of challenges they face. The proposed network is important
in helping them to do this.
4. They are also hungry for investment. But EU funding programmes may
not yet work for them.
5. Hubs are optimistic – they feel their time has come.
15

16. All the dataAll the dataAll the dataAll the data
Availability of data
EUROPE’S CREATIVE HUBS
The data used in the report is open and available for
researchers to use at:
ecbnetwork.eu/europes-creative-hubs-mapping
All the dataAll the dataAll the dataAll the data
16
Send comments and questions about the research to:
callum@bop.co.uk

17. EUROPE’S CREATIVE HUBS
PROJECT PARTNERS
The European Creative Business Network
www.ecbnetwork.euwww.ecbnetwork.euwww.ecbnetwork.euwww.ecbnetwork.eu
ECBN is a network of cultural and creative
industries development agencies. We
represent our 20 board members and help
them to:
• Learn and inspire each other
• Campaign for the sector in Brussels
British Council
creativeconomy.britishcouncil.orgcreativeconomy.britishcouncil.orgcreativeconomy.britishcouncil.orgcreativeconomy.britishcouncil.org
The British Council is UK’s international organisation
for educational opportunities and cultural relations.
The Council builds trust and understanding through
activities in English, in education, and through the
arts.
In addition to developing partnerships and projects• Campaign for the sector in Brussels
• Find new funding working with trusted
partners
We were founded in 2011 and are a non-profit
Foundation, based in the Netherlands.
17
In addition to developing partnerships and projects
across each major art form, the British Council has a
bespoke programme focussing on the Creative
Economy. We aim to strengthen the links between
global and UK creative business, networks, policy
makers and entrepreneurs: promoting international
connections; exchanging skills, innovations and best
practice; and enhancing opportunities for artists,
creative businesses and entrepreneurs to reach
broader markets.

18. EUROPE’S CREATIVE HUBS
PROJECT PARTNERS
ADDICT – Creative Industries, Portugal
addict.ptaddict.ptaddict.ptaddict.pt
Created in 2008, currently gathers around diverse 100 members spanning the whole
spectrum of the culture and creative sector and it is recognised by the Ministry for Economy
as the coordinator of the creative industries cluster in Portugal. ADDICT’s mission is to foster a
favourable environment for the creative economy to thrive, promoting capacity building and
internationsalisation, advocating for adequate public policy and acting as a networking and
knowledge platform.
18
In the period 2009-2013, the North region invested in the creation of infrastructures and
events to ensure adequate conditions for hosting, producing and presenting cultural and
creative products and services.
Since 2013, ADDICT has been promoting the informal encounter and debate of the sector´s
main support venues. This group intends to be a space for exchange of experiences and
shared discussion on these creative centres’ role in the sector´s and the territory
development, in view of establishing partnerships for future collaborations and joint action at
regional, national and international level.