Research into Workspace for the Creative
Sector: Newcastle and Gateshead
A) Mapping database and enquiry platform
B) Strategic analysis and actions
http://m.cultureworks.info
Newcastle & Gateshead: Research into Workspace for the Creative Sector
Executive Summary
This report and mapping exercise was commissioned by Newcastle City Council as part of the
Creative City Challenge with two clear objectives. The first was to create and map a database of
create and cultural workspaces across Newcastle and Gateshead. This has been developed and
uploaded onto the Culture Works website where it provides a resource for both property owners
and potential occupiers. See: www.cultureworks.info/searchforworkspace and mobile version
http://m.cultureworks.info.
The second objective was to prepare a strategic document which identifies potential for the supply
and management of workspace for the creative and cultural sector and actions to assist public and
private sector stakeholders to collaborate, achieving a more co-ordinated approach to the provision
of creative industries workspace across Newcastle and Gateshead. This strategic approach should
minimise barriers for the target sector to utilise all forms of workspace as well as providing a
stimulus for landlords and asset owners to provide affordable, flexible space rather than have it
linger empty generating empty business rates liabilities.
Key issues
1. Workspace is an important issue for creative sector businesses. It is widely recognised that
for most forms of economic development, property plays a fundamental role both as a
vehicle for employment, for new investment and for job creation. This is true for small and
large creative businesses and whilst the interactive map and database created by this
project are important steps forward, further work needs to be done to help the sector
access and utilise property.
2. The supply of new and growing creative businesses is driven by indigenous growth (existing
businesses that take on new staff and expand their services and activities within the city
region); by new start-ups particularly emerging from both the Universities but increasingly
from Colleges and spin-outs from existing businesses; and finally relocation from outside the
region. Ensuring the strongest possible links between the supply of different forms of
property and these sources of new businesses is an important factor in increasing the
success rate of start-ups and the rate of growth within the sector.
3. This research indicates that at all levels (start-ups, temporary projects or established
businesses and organisations) more specific help is required to assist the sector to access
and benefit from suitable accommodation and that this is a key stage in establishing a
business resulting in greater professionalism, the need to diversify or increase income and
therefore part of the process of creating a more sustainable business.
4. In our survey, 46% of respondents thought it was difficult or very difficult to find suitable
work space. Only 1.6% thought it was easy. This suggests that there may be a need for
further support, guidance and advice in relation to property needs for the sector.
Supply of work space
5. The findings suggest that new investment in workspaces needs to be strongly linked to
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existing clusters rather than stand alone new initiatives. Creative businesses are more
attracted to existing networks, skill pools and the potential to share resources.
6. Ouseburn and the Quayside are strong aspirational favourites for creative or cultural
businesses thinking about where they would like to operate. Where there are existing
clusters makes locations of greater interest to potential occupiers.
7. Ouseburn properties are either fully let or have relatively high levels of occupancy in all
categories. This provides a rationale for external public sector investment in Ouseburn itself,
and to expand eastwards into Byker and Shields Rd and to fill in gaps towards city centre
and the central business district.
8.
There is an abnormal amount of Newcastle city centre empty office space compared to
other cities. A number of vacant upper floors close to clusters could be attractive to the
sector and there may be scope to look at temporary workspaces and studios with willing
landlords as a way of generating more activity in offices that have been empty for several
years or more.
9. Cost was the most important factor followed by safety and then broadband. 75% thought
being part of a cluster was important.
10. Companies interviewed rarely use agents or traditional property brokers, so the
development of a Google map and associated data is one practical step to assist creative
business location finding.
11. The importance of the community of users in the most successful buildings is critical. This is
more than physical geography but appears to be the degree to which the occupiers benefit
from collaboration and the level of support and ‘connection’ which they find in their
workspaces.
12. Public sector investment is required at all levels of the supply chain for workspace – for
artists in particular there is a shortage of appropriately priced space in clusters which are
likely to help them commercialise and develop new income streams. For offices, grow on
space is also important so long as it is strongly linked to the cluster – i.e. no good if isolated
and far from perceived networks. There are a number of ways that the public sector can
further facilitate the growth of the sector, including looking at existing property assets to
determine how they might lever partnerships and investment from the private sector.
Other Actions
13. There is a scope for a greater sense of ambition for the clusters in Newcastle and Gateshead
- with even moderately enhanced profiling, going beyond the ’internal’ directory of spaces
delivered as part of this project but with potential to position the wider creative community
using these facilities as an international network and umbrella for further projects and
development. There is scope for NGI to play a key role to deliver this.
14. The companies and organisations we surveyed and our wide range direct contacts with
creative businesses, all point to the speed at which they move on or need new space that
meets their changed needs. This means on one hand, that caution needs to be applied when
evaluating the need for new premises because the demand trends are very fluid, but also
that one has to pick up on evolving trends and respond to them rather than specific
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quantitative data because by the time a normal capital project is completed, the market
context will almost inevitably have changed. This reinforces the importance of existing
clusters and established networks as being longer term drivers of growth.
15. There is scope for cross-sectoral collaboration which could help add significant value across
the wider North East creative community. Communication and profiling initiatives could
support this and there should be opportunities for cross-selling some of the existing
examples of good practice and case studies. These both serve to demonstrate the benefits
of being in specialist, connected workspace but also to promote some of the companies on a
wider national and international stage.
16. There is further scope for collaboration across the wider region. With more joined up
working between Northumbria and the South Tyneside local authorities (for example) there
would be significant potential to create a much stronger branded creative ‘home’ offer that
would have national and international appeal.
Next steps
17. Maintain the database and mapping service on an annual basis and distribute to
stakeholders to ensure that it is profiled on relevant web sites and promotional material as
the service has the potential to add significant competitive advantage to both Gateshead
and Newcastle. Hold an annual informal event for property owners and agents to raise the
profile of creative industries clusters, focus on successful examples and scope for business
growth.
18. Support tactical locations of niche clusters across the city region in order to consolidate
existing and emerging clusters. Further public sector investment should be focused on
existing clusters.
19. Promote the ladder of provision and grow-on from temporary, pop-up or ad hoc spaces to
mature clusters and networks of creative enterprises. Issue press releases (2-4 per year) and
social media activity to reflect increasing activity across these locations and to maintain
wider property industry awareness of potential to engage with creative businesses and
cultural organisations as part of short-term or temporary projects.
20. Identify specific locations and properties where there is a need to tackle long-standing
secondary empty office space in city centre locations (Gateshead / Newcastle) and discuss
with asset owners and agents options for animating and activating specific spaces.
Reviewing a prioritised target list each year would help focus on the key challenges.
21. Working with NGI, identify a network of creative sector champions (network managers /
business owners / key players) who are prepared to be advocates for inward investment
enquiries and visits from prospective clients i.e. reinforce the sector networks and diversity
of companies in connection with property opportunities rather than in isolation.
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Contents
Part A: Brief
Development of a comprehensive database of business workspace for the cultural
and creative sector in Newcastle and Gateshead
Page
1. Summary of creative and cultural workspace clusters
2. Types of creative and cultural workspace with case studies
2.1
Temporary spaces
2.2
Artist studios
2.3
Hybrid studios / offices
2.4
General office accommodation (secondary )
2.5
High specification offices
2.6
Industrial units
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7
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Part B: Brief
Development of a strategy for the supply and management of business workspace for the
creative and cultural sector in Newcastle and Gateshead in the future.
3.
4.
5.
6.
7.
Existing clusters and workspace: key characteristics
What creative and cultural practitioners want from workspace
The relationship between empty space and developing the sector
Conclusions
Key actions and next steps
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23
Appendices
A List of consultees
B Workspace database
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1
Summary of creative and cultural workspace clusters
Over 140 sites were identified through desk-top and field survey. These were divided into six
categories of space:
(A) Temporary space – short-term use of vacant office and retail accommodation.
(B) Artists’ studios/workshops – spaces dedicated mainly to visual and
(C) hybrid studio/office space
(D) General office accommodation (secondary)
(E) High specification offices
(F) Industrial units
The database records information on location (including nearest Metro station where appropriate,
otherwise ward); contact details for the landlord/agent, details of the total and available space and
the range of facilities available, including car parking and access. The information has been verified
by contacting agents and site visits. An external photograph of most premises is also included. The
database is automatically updated from an online control panel
www.wensleyhouse.com/cultureworks/cp and can be downloaded as a .csv file for further analysis.
A copy of the most recent version is also appended to this report (Appendix B).
The majority of workspace was found to be located in Newcastle City Centre. Within the City there
are three recognisable clusters: around Central Station( Westgate Road, Pink Lane), the Monument
(Theatre Royal and The Side) and Ouseburn/Shieldfield.
The three clusters are highlighted in orange on the Google map. There are premises across
Gateshead and the wider city region but the majority are in Newcastle in the centre, west and east
of the city.
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The clusters are described in more detail below (section 3). The six categories of workspace can be
broadly characterised as:
Temporary workspace: normally open plan retail and office space converted for temporary use by
individual (and groups of) visual artists, and designer/makers and is also good for rehearsal space.
Space is aimed at recent graduates and is usually shared. Tenants usually need to organise their own
mobile broadband connection. Special requirements such as three phase electrics and extraction
may not be supplied. It is affordable but tenants are required to move on when the space is
permanently let and therefore there is no sense of permanency or establishing long term economic
and social connections.
Artists’ workshops/studios: these are very much in demand and there is limited availability
currently. There’s usually an application process and tenants are expected to be part of a creative
community, not just an occupier of space. Rooms are usually quite small, designed for between one
and up to five people.
Studios/offices in a wide range of settings including railway arches, converted warehouses and
historic town centre properties as well as new developments. They may be serviced or unserviced
and are suitable for artists, designer/makers and digital-based creative enterprises at sites across the
city region accommodating small businesses. There are some unusual premises and good central
locations. Lease terms vary from one month to several years.
High specification offices: usually new build purpose-built office accommodation with excellent
environmental standards and larger open-plan offices. Hot desking and short term lets may be
available. Terms and prices are often negotiable but start with the expectation of either a long lease
(3-5 years plus) and or a high rental (£12-22 per sq ft plus business rates, utilities).
Industrial units: industrial buildings and estates with a creative bias. Sites usually offer good road
access, roller shutter doors and dirty workspace suitable for a variety of uses such as
furniture/joinery, printing, sign-makers, glass-blowing and other designer:makers. Limited
availability in the city centre but there is greater availability close to Gateshead town centre.
2.
Types of creative and cultural workspace
As part of the process of mapping the locations of existing workspace clusters, we refined a typology
of creative and cultural workspaces. This is not absolutely precise, as there are many overlapping
buildings or studios that could qualify under multiple categories but the aim was to illustrate how
broad categories can be differentiated as well as provide options for individuals or businesses
searching for a certain type of workspace to fit their specific business needs.
2.1 Temporary space
There are four examples of temporary workspace established as ‘meanwhile uses’ in vacant office,
retail and industrial premises in both Newcastle and Gateshead: the Bridge & Tunnel Studios and
the New Bridge Project (both run by artists), Commercial Union House run by Black Box White Box,
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and premises on the Team Valley Estate run by East Street Arts. Space is let at a lower rate than
industrial units and artists’ studios and in some cases is free of charge to occupants.
While some artists have moved from other studios to this cheaper space, established studios with
brand value (e.g. Biscuit Factory and Mushroom Works families and Lime Street) are still reporting
waiting lists or high occupancy rates and there seems to be space in the market for both. The
temporary premises have opened up an opportunity for start-up creative enterprises (mainly visual
and fine artists) to take on studio space outside of the home. If successful, some of these may be
expected to move on to other more established studios.
East Street Arts (http://eaststreetarts.org.uk/workspaces/) has been operating their temporary
workspace scheme for two years and are developing their portfolio beyond their home location in
Leeds to include other cities. They report that demand is growing, and that temporary workspace
particularly suits theatre and other performance artists wanting rehearsal space as well as visual
artists and makers. Their model has a number of benefits:
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ESA were established in 1992 to support artists’ professional and practice development. The
provision of workspace is a recent extension of this core role and benefits from the
reputation and knowledge accrued over a substantial period of time as an artists’ support
and development agency.
ESA are rapidly developing effective relationships with landlords based on knowledge of
each other’s respective needs. Landlords are increasingly referring ESA to properties in other
cities across the UK. This enables ESA to respond to artists’ mobility needs, for example,
supporting them to undertake commissions in other locations than their home base or to
make it easier to move to seek out new contracts or opportunities.
Their rapidly growing portfolio of appropriate workspace means that they are able to rehouse artists in equivalent space when temporary contracts come to an end providing a level
of security in otherwise insecure accommodation.
ESA give a high priority to health and safety and personal security requirements – their
spaces are safe and occupation by artists matches landlords considerations regarding use.
ESA provides an effective interface between the artist and the landlord negotiating
appropriate terms and dealing with problems should they arise.
ESA are active in Gateshead with three properties on the Team Valley estate and interested in
developing more opportunities in the Newcastle / Gateshead area.
Case study: Shields Road – an opportunity
The expansion of temporary space appears also to have stimulated artists’ interest in looking for DIY
studio space. Shields Road is a good example. The area, immediately to the east of Ouseburn and
with many emerging artists resident in Byker, has the potential to develop as an extension of the
Ouseburn creative cluster. There is already a studio in Byker Wall – Kingsland Church Studios
(developed by Nick James) and the area is a target for Newcastle City Council regeneration. It has a
high shop vacancy rate.
Two artists have recently looked at different premises on Shields Road. Michelle Gould, an artist in
the Byker Wall had looked at premises above St Oswald’s charity shop and Alex Charrington
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(previously artist in residence at Foundry Lane Studios in Ouseburn) had been looking to fit-out
artists’ studios above Raytex. Both artists were put off by the requirements and costs to bring the
premises up to regulation standards and then to operate the space.
Newcastle City Council has a limited amount of capital funding available to bring an empty shop on
Shields Road back into use as a creative and community space. This is part of a £100k award
received following an application with Shields Road Business Forum to the Portas Pilot scheme to
revitalise the Shields Road high street. The plan is to use the money to deliver a package of projects
including business support for independent retailers, shop front improvements, environmental
improvements and a community and cultural events programme including a winter food festival.
A survey of the high street indicates that the best prospect site is the former Parishes department
store. The building occupies one of the most prominent locations on Shields Road and the ground
floor is largely vacant. The amount of capital required to bring the units back into use is likely to
exceed the capital available through the Council, so match funding will be required.
2.2 Artists’ studios / workshops
The biggest cluster of artists’ studios and workshop spaces is in the Ouseburn. The area benefits
from free parking, a village-like community and relatively low rents. While the Biscuit Factory and
Lime Street have focussed on accommodation for visual artists, the family of studios run by Nick
James (Mushroom Works, Brickworks, Kingsland Church Studios and Brighton Road Studios) are
marketed both to designer-makers and architecture and design businesses.
The accommodation is typically minimalist in fit-out with concrete or boarded floors, sinks either
within studios or in communal areas, some meeting and/or exhibition space. Several studios are
members of NDFAS the National Federation of Artists Studios. Some require tenants to go through
an application process in which their work is vetted and they are required to contribute to the
running of the space and to work collectively or in collaboration with other tenants. Space is
typically let at around £8 per sq ft. Terms are flexible, sometimes requiring only a month’s notice.
Occupancy rates are high. Vacancies are quickly filled and some premises have a waiting list.
Baltic 39 has a higher vacancy rate, but it is located near to Commercial Union House, the New
Bridge Space and other large temporary more affordable workspaces. It does not benefit from free
parking, access is more difficult and the brand identity of the building is not yet established.
Case study: The Biscuit Factory
Ramy Zack describes his vision as ‘engineering’ Newcastle’s equivalent of the left bank – an artisan
district with a cluster of work and exhibition/selling spaces for visual and fine artists. Over the last
10 years he has grown a family of premises on Stoddart Street in the Ouseburn starting with the
Biscuit Factory, then the Biscuit Tin Studios, the Holy Biscuit and most recently the Newsroom
studios. The Newsroom is the first Biscuit Factory building to accommodate ‘clean’ digital-based
creative businesses. Two further developments will complete the development – the Biscuit Rooms
venue for weddings and events and SWS House which is an asset transfer from Newcastle City
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Council and the subject of an ERDF bid to provide 15,000 sq ft and car parking for artists and
musicians.
The Biscuit Factory has two floors of studios below two floors of gallery exhibition and selling space
underpinned by a food offer which combines a café with David Kennedy’s award winning fine dining
restaurant and event catering.
The studios (some 60 units in all) are offered at affordable rates from £120 per month (including
rates and some utilities) and are virtually full with an occupancy rate of 95% - 100%. Applications for
workspace are handled separately from the operation of the exhibition and retail space at the
Biscuit Factory, but prospective tenants are attracted by the Biscuit brand and the Biscuit Factory is
developing more of a ‘membership’ culture where artists are encouraged to collaborate and
participate in events such as Ouseburn Open Studios. This activity is now being co-ordinated by the
operational team at the Biscuit Factory. The Biscuit Factory has also established a Foundation to
provide a platform for new and emerging artists and has established a Young Artist of the Year
award.
Biscuit Factory is a good example of artists’ studios that have a strong identity and leadership. This
factor is key to achieving a high occupancy rate. Other studios such as Lime Street, Mushroom
Works, Brickworks, Brighton Road Studios, Kingsland Church Studios have waiting lists. Some agents
are seeing the labelling of offices as ‘studios’ (e.g. Quayside Studios and Akenside Studios) as a way
to differentiate the space from general office space of which there is a surplus in the city.
Over the next 3 years, Ramy intends to promote awareness of the artisan district through both
programming and physical interventions. Ramy wants to establish a regular Art Market and make
the buildings more visible through public art on the new and existing buildings.
“Has the emergence of temporary studio and gallery space in vacant premises had an impact on his
business?”
“Yes, some artists have left for cheaper space, but most people value being part of the established
‘Biscuit’ family. The Biscuit has developed a sustainable business model”.
The final part of the Biscuit Factory expansion is to redevelop SWS House behind the Newsroom to
provide more studios, a music venue and sound-proofed music practice studios. There is demand
for more accommodation for musicians. Another property agent (Paul Murphy) reported interest in
developing the Blue and Orange site on Lime Street for music rehearsal and there are rehearsal and
recording spaces already at the Cluny and Off Quay Building in Ouseburn.
2.3 Hybrid studio and office space
We found a number of small clusters of studios and offices that are either designed/redeveloped to
accommodate both artists and digital-based, creative businesses or older offices that have been
refurbished and rebranded as studios.
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Case study – Mushroom Works
This category includes the Mushroom Works CIC family of premises established and run by
designer:maker Nick James – which now includes Mushroom Works, Brick Works, Brighton Road
Studios in Gateshead and Kingsland Church Studios in Byker. These studios are highly successful
offering affordable accommodation to artists, architects and makers. The workspaces are not
carpeted and most have a sink, so that they may be let for either ‘clean’ or dirty’ uses. Utilities are
separately metered. There is an application process and tenants are expected to participate in open
studios events and collaborative activities. The sites have shared exhibition and meeting space.
There is a waiting list for new tenants.
By contrast, Akenside Studios on The Side and Quayside Studios are refurbished and rebranded
serviced clean office accommodation seeking to attract design-based companies.
2.4 General office accommodation (secondary)
There is a surplus of general office accommodation with substantial amounts of empty spaces
available in a number of key areas across the study area. Much of the accommodation above retail
units and bars in the city centre is to let with some areas having almost no business activity above
street level. Although some offices have been refurbished, others would benefit from investment
but there is no confidence in the market to justify further investment. Pink Lane is typical in this
category, though unusual in having superfast broadband connectivity as part of the offer to attract
digital businesses and an existing community of occupiers.
General office accommodation is under pressure from two directions: the increasing amount of
newer hybrid studio and office space that is let at an affordable rate and higher specification offices
with large floor plates being subdivided and let as smaller units to businesses that would, in previous
eras, have gladly taken prestige listed office suites on Grey Street (for example).
Pink Lane: The Development Story
PNE work began in 1989, before the terms ‘cluster’, or ‘creative industries’ were common currency
and just ahead of the development of the Temple Bar area of Dublin. PNE identified a market failure
- a shortfall in affordable workspace for creative industries and micro start-ups. The first conversion
was of a house of ill repute, followed by a number of developments in Pink Lane which now provide
live work accommodation (in three one bedroom units) and 55,000 sq.ft of managed workspace for
start-up and small enterprises (no larger than 30 employees with each unit offering up to 2,000 sq.ft)
with high speed broadband and business support facilities at an affordable cost. Several of the
refurbished buildings have architectural and historical value.
The development was led by North East Workspace, part of Project North East, a social enterprise,
and financed through a wide range of resources including public grants, mortgages, private sponsor
funding and re-invested income amounting to over £3 million. Tenants are creative industries and
not-for-profit organisations.
Newcastle Arts Centre and Black Swan Courtyard
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In September 1981, Newcastle Arts Centre Limited purchased a derelict group of listed began on the
difficult task of creating a viable buildings on Westgate Road and work soon began on the
development in a run-down area of the inner City. Because of the level of economic and community
stress at the time the development was well supported by a number of Government Agencies
including The Manpower Services Commission (Job Creation Programme) Tyne & Wear Conservation
Team, English Heritage and the Newcastle & Gateshead Partnership. No commitment was made by
Northern Arts or the Arts Council.
The development was planned as mixed use with the intention that the buildings on the high street
should be let to provide an income to at least match the mortgage, and that the buildings away from
the street would become a combination of public space and private studios. The company
structure has enabled the Centre to run and develop without revenue grant aid since 1993.The Arts
Centre won a RIBA/Times Community Architecture Award and was formally opened by Prince
Charles in 1988. The charity has re-established shops, offices and workshops, and built an Arts
Centre from a derelict section of Westgate Road. The buildings consist of 18th Century merchant’s
houses and later property that is bordered on Westgate Road by the line of Hadrian's Wall and on
Pink Lane by the line of the City Wall. Newcastle Arts Centre website traces the history of the site
from the 17th Century.
The complex now comprises residential units, twelve office/workshop units, an artist’s materials
store, a craft shop, gallery, performance space, two teaching studios, café and bar. In 2012 and in
response to enquiries from the arts material store, a programme of arts courses has been initiated
which is recruiting strongly.
2.5 High specification offices
Property agents describe this class of office accommodation as grade A or grade B. Within the
commercial property sector ‘class ‘A’ offices are expected to meet the following criteria:
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First class design of a newly constructed or refurbished building
Excellent location
Easy access to the building
Attractiveness to the most prestigious and creditworthiness tenants on the market
Above average rent levels
Professional property management
Use of high quality building materials
Floor to ceiling height of not less than 2.70 metres
Flexibility of internal design (open spaces)
Sun protection glass
Under floor cabling (raised floors) and suspended ceilings
Class A energy efficiency
Impressive atrium
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Class ‘B’ offices exhibit many but not all of the specifications required for Class A. They may not
share the same excellence of location, or may be from an earlier construction period. The rents are
often cheaper and supply is more readily available than the more prestigious Grade ‘A’ offices.
Grade B offices are usually maintained and finished to a good or fair standard, with adequate
facilities. Materials used in the construction or fit-out of the building are functional but are not
considered to be the highest quality. These properties are sometimes ex-Grade A and sometimes are
much older buildings, adapted to 21st century office use.
High quality broadband connectivity (fast ADSL or fibre) is considered standard for grade A and B
offices.
Grade ‘C’ offices are older buildings (usually more than 20 years), are located in less desirable areas
and are in need of extensive renovation. Architecturally, these buildings are the least desirable and
building infrastructure and technology is out-dated. As a result, Class C buildings have the lowest
rental rates, take the longest time to lease and are often targeted as re-development opportunities.
Case study: Commercial Office provision and impact on Creative Industries growth
One commercial property agent forecasts that by 2014 Grade ‘A’ office space in Newcastle
Gateshead will be fully occupied and no new Grade A space will be built by the commercial sector
unless pre-let. This is expected to trigger the commercial sector to refurbish Grade ‘B’ offices with
innovative and quirky interior design makeovers of existing buildings as an alternative to new
buildings. One such example is the recently upgraded Fabrick Housing Group offices in
Middlehaven, Middlesbrough by xsite architecture. Xsite also predicts an increase in demand for
office refurbishment schemes.
Newcastle University’s Technology Strategy Board is running a competition ‘Invest in Innovative
Refurbishment’ to challenge companies to develop new technologies and solutions to refit existing
building stock. This includes the use of wireless security and fire systems in historic buildings,
improving insulation, ventilation and environmental efficiency.
Commercial Grade A and some Grade B properties are usually open space let on a minimum square
footage housing over 25 work stations, effectively excluding many creative industry enterprises.
This accommodation is more likely to attract large software, games animation and other digital
companies that are relocating or expanding from outside the region. That said some agents are
beginning to offer breaking up open plan offices into smaller spaces and offer shorter leases. Some
business parks include small high specification office accommodation suitable for microenterprises
eg. Riverside Studios on Newcastle Business Park and Benfield Studios.
Landlords are looking for prestigious and credit worthy tenants – a criterion even highly successful CI
businesses (in the sector’s eyes) might find hard to meet.
Grade C offices since they are generally in older buildings tend to be cellular. Whilst smaller units
might suit creative industries, their location in terms of personal safety, client perceptions and
access to transport may not. CIs are also drawn to buildings where a ‘creative buzz’ is generated
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through shared space with like-minded people – a criterion that could be met through the design of
refurbishments but often isn’t (for example, CI tenants in the Saltwell Business Centre cite this as a
drawback of an otherwise excellent workspace).
Commercial provision of Grade A space is generally inappropriate for Creative Industries due to the
minimum occupancy requirements. Anticipated refurbishment of Grade B offices by the private
sector is likely to re-produce the same problem. Refurbishment of Grade ‘C’ offices will need public
sector investment1
It seems unlikely that the commercial sector will develop new office space to meet what the
emerging needs of the sector are:
 Affordable
 Scale appropriate to CI characteristics
 Secure
 Have soul (described by one respondent as ‘ageing well’)
 Accessible by public transport or with parking
 Proximity to people of like mind for creative spark
Opportunities for development lie in new builds and the refurbishment of Grade ‘C’ buildings but
will require public sector support.
2.6 Industrial units
Industrial units are typically located on estates in the suburbs close to access roads. There is little
city centre provision.
Case study: The RIP, large format exhibition graphics and digital print
The RIP started trading in 1988 in Ouseburn before moving to more affordable premises in Swalwell,
Gateshead which provided space to grow. Business owner, John Laidler, recently took the decision
to move back across the water into a refurbished industrial unit on Hawick Industrial Estate in
Ouseburn. The move was out of choice. The other site was being developed and he could have built
new premises there but John took the opportunity to move back to Newcastle to a location he had
first looked at 2 years ago. John searched for advertised properties through agents but found that
there was a shortage of industrial premises of between 2,000 and 6,000 sq ft in central locations in
Newcastle.
Ouseburn was ideal for him because it brought him closer to key clients and closer to home,
reducing commuting time. The premises are more accessible and a step up from his previous
situation within a barrier-controlled haulage yard. Clients can find him more easily and now drop in
to see him more often.
He has a five year lease, but isn’t planning to move again unless the opportunity comes up to buy
premises outright. His work is business to business, so he isn’t interested in participating in
Ouseburn Open Studios or Late Night shows but he already has connections with neighbouring
1
DTZ
Creative Space Management & Culture Works
13
businesses. A keen off-road cyclist, John won the job to do the graphics on the Cycle Hub and has
brought business to Skedaddle.
The RIP’s experience supports the case for additional industrial units in Ouseburn. An ERDF
application is in hand to develop units adjacent to Toffee Factory at Lower Steenbergs, fronting both
on to Ouseburn quayside and Ouse Street. A site capacity study indicates that the site could provide
13 units within the 2000 – 5000 sq ft size range with vehicular access onto Ouseburn Quayside.
3.
Existing clusters and workspace: key characteristics
The following are the clusters identified by Culture Works in their mapping of creative workspace
across the target area.
i)
Ouseburn, Newcastle-upon-Tyne
536,988 sq ft in total with 50:50 bias towards workshop space
29 premises
6 artists studios total 66,926
7 hybrid studios/offices total 175,500
8 offices total 73,937
3 high spec offices total 61,000
5 industrial total 121,201
There is evidence of further scope for growth with comparatively high occupancy ratios and
indications of demand from a number of the workspace premises. Ouseburn (and Shieldfield) are
the most developed of the clusters with an active programme of events (such as Ouseburn Open
Studios and Late Shows) and recognition within the sector regionally, as the city’s creative quarter.
It includes the Biscuit Factory, Lime Street Studios, Cluny, Cobalt Studios, Hoults Yard and the new
Toffee Factory and Cycle Hub . The area has a regeneration plan and office development proposals
at Hoults Yard, Lime Street and Lower Steenberg’s Yard and it is hoped that projects such as SWS
House will meet the demand for additional industrial workspace and studios.
Evidence from the accelerated take-up at Toffee Factory demonstrates that when the right product
is available (highly serviced / contemporary and refurbished space / closely connected to wider
creative community), there is more latent demand than originally anticipated. 100% occupied within
12 months (with almost 25% of occupancy being start-up businesses) raises the issue that where
appropriate product is available, companies will invest in growth, creating new jobs despite the
challenging economic context. Equally it raises the issue of where those growing companies can
expand to if they wish to stay connected into the networks that have led to their recent growth
spurt.
For Ouseburn, much of the existing capacity is now at very high occupancy levels with little capacity
for growth within existing buildings. This suggest more property projects are required in the area to
further capitalise on demand and support company growth and further stimulate job creation and
Creative Space Management & Culture Works
14
new business start-up. Note that at Toffee Factory, over 25% of the companies have created new
jobs within the first year of moving in and have needed to expand their office space.
ii)
Central Station, Newcastle-upon-Tyne
560,359 sq ft (mix of hybrid, general office and high spec office) - Station, Pink Lane,
Blandford Square, Cathedral Square & Dean Street)
31 premises
6 hybrid 26,809
20 offices 358,161
5 high spec 173,589
Pink Lane was the city’s first creative cluster with superfast broadband attracting design and digital
companies to ‘Silicon Alley’. Proximity to the main railway station makes this an attractive location
for creative businesses and there are a number of new developments including Cooper’s Studios ,
Central Square and Clavering House and the Collingwood Buildings (which includes hotdesking)
aimed at travelling businesspeople.
A major new mixed-use (including offices) development is planned in the Stephenson Quarter to the
rear of the railway station but this is also the area with most empty office accommodation, mainly
on first floors above retail premises on Collingwood Street and Westgate Road. The main challenge
in Pink Lane and Westgate Road is the lack of car parking and the detrimental effect of the bars,
clubs and music venues.
iii)
Manors, Newcastle-upon-Tyne
418,912 sq ft (mostly office)
12 premises
1 temporary
10 office 303,445 sq ft
1 high spec
Truncated by the central motorway and underpasses, this area has several high-rise serviced office
blocks which are not particularly attractive to creative businesses, but also refurbished historic
properties including Holy Jesus Hospital and the largely vacant Alderman Fenwick’s House on Pilgrim
Street. The largest development is Generator Studios housing mainly design and architectural
companies.
iv)
Monument, Newcastle-upon-Tyne
229,865 sq ft (mostly office) - ie around Theatre Royal
13 premises
2 temporary
1 studios
9 offices 111,814
1 high spec
Creative Space Management & Culture Works
15
The area around the Theatre Royal has a lot of vacant office accommodation on upper floors above
shops and bars. This cluster extends to Dean Street and includes Dean Court. There are some
temporary projects: New Bridge and Commercial Union House as well as Baltic 39, the recent
development on High Bridge. Northumbria University campus is nearby and the area is attractive to
art and design students and graduates.
v)
Gateshead Quays
229,599 sq ft (all office accommodation)
Gateshead Quays is characterised by new high spec office accommodation with large floor plates
which was built speculatively to attract large companies. The proximity of the BALTIC, the SAGE
Gateshead and the Design Centre make this an attractive location for creative companies. This
location is most likely to attract inward investors relocating or expanding in the area.
vi)
St James
172,253 sq ft
The accommodation around the football stadium is a mixture of smaller offices in Victorian town
houses and new and refurbished office blocks (eg Wellbar). This area has office development sites
currently being marketed and includes the University’s ‘Science Central’ and Business School sites.
vii) Quayside
159,048 sq ft
The Newcastle Quayside is a mixture of office accommodation on upper floors of Victorian buildings
(mainly law practices) and new developments – a mixture of residential and office, including Regus.
There is a lot of vacant space currently being marketed (e.g. St Ann’s Quay and River View and
Newcastle Business Village). There is also a lack of small artists’ studios in this area. Live Theatre is
currently developing offices and is planning more as part of a long term development strategy.
4.
What creative and cultural practitioners want from work space
A survey was distributed by Culture Works to 2,500 creative practitioners across the region, and via
Northern Architecture and Design Network North. 83 replies were received.
“I am looking at (cheap) studios as the isolation of working from home is
beginning to get to me” Respondent to questionnaire October 2012
The results provide an insight into the challenges for people working, often as sole traders, generally
from home and the frustrations of finding suitable accommodation.
Q.1 Renting workspace or working from home
53.1% of respondents work from home and for many this is proving to be less than satisfactory with
some having to pay for storage or to access friends’ workspace in order to work effectively. In fact
the proportion is probably higher with several respondents using co-working spaces and other
Creative Space Management & Culture Works
16
occasional space with their home still being an administrative base. 39.5% are renting offices,
studios or serviced office space which is perhaps, given the recession, is higher than one might have
predicted given the majority of these are micro businesses or sole traders.
Q.2 Defining activity by sub-sector
44.2% of respondents work in Design or Visual Arts and 15.1% in Performing Arts. There were over
20 comments on respondents who couldn’t classify their work or worked across multiple disciplines.
In particular there were five writers as part of the respondent group. Other comments reflected the
‘portfolio’ nature of people’s careers illustrating the need for flexibility.
Q.3 Duration at workspace
Bearing in mind that over 55% of respondents worked from home, it is interesting that 52.5% had
been in their current work accommodation for less than two years. A significant proportion are
operating from the workspace that they have occupied for more than five years, suggesting a
relatively stable pattern of activity.
Q.4 Size of workspace
A significant proportion of respondents simply operate from a space just big enough for one person.
Perhaps more unexpected is the amount of people occupying from space big enough for 2-6 people
(total of 36.3%). However several of the comments pointed out that whilst they have space for one
person to work that may still mean that they have storage and other spatial requirements other than
simply workstations. i.e. workspace needs of the sector often rely on access to other resources and
facilities which may be specific to the sub-sector or individual practitioners or businesses.
Q.5 Location of workspace
All the respondents to this question were from NE post codes (see detailed summary in Appendix B)
Q.6 Interest in moving premises
67.6% were either definitely interested in moving premises or possibly interested in moving,
representing a significant majority of the respondents interested in improving their workspace.
Q.7 Difficulty of finding workspace
When combined with Q.6 43.3% considered finding workspace difficult or very difficult and a further
29.9% finding it tricky. This illustrates that a very high proportion of the interview group find
accessing appropriate workspace a significant barrier to delivering their work activities.
Q.8 General location for new workspace if they were to move
A relatively high proportion (almost 35%) of the respondents indicated that they would be happy
with new workspace in either Newcastle or Gateshead but 46% said they were only interested in
Newcastle. The 23 comments with this question indicated a broader range of possibilities suggesting
several (but by no means all) of the identified clusters such as Ouseburn and Quayside as well as
Northumberland coast.
Q.9 Finding out about workspace
Creative Space Management & Culture Works
17
This is perhaps one of the most interesting responses, indicating the very high proportion of people
in this sector who rely on word-of-mouth (90.6%) to find out about new premises (or indeed other
services). Social media is also playing an increasingly important role (56.3%).
Q.10 Important features of workspace
Unsurprisingly cost is a key criteria (82.1%) but perhaps less obvious is that perceptions of safety
were also considered to be very important by 53.7%. Broadband is also perceived to be very
important by 47% of respondents with only 17.7% feeling that being part of a cluster to be very
important. Some of the comments also reflected other key issues such as the need for amenity
facilities such as cafes, natural light and importance of 24/7 access and some reinforcing the
importance of good security. From the additional comments made, it is clear that communicating a
more widely available range of workspaces has the potential to benefit the majority of respondents
to the survey.
5.
The relationship between empty space and developing the creative and digital sector
The current market situation in both the central areas of Gateshead and Newcastle is unusual in that
there is an underlying challenge to the historic importance of business locations in city centres. This
may not simply be an issue for the current year but part of a much larger business cycle which is
affecting how we use city centres, how we promote them and how we conceive of new and
emerging functions that can take the place of previous uses.
The property sector (Estates Gazette 20/10/12) acknowledge that the market in Newcastle city
centre (and the same applies to Gateshead) is largely at a standstill. The primary (in terms of scale)
office take up is occurring outside the urban centres in locations such as Cobalt and Quorum which
during the first half of 2012 accounted for 277,000 sq ft of new lettings, likely to be around 60-70%
of the total lettings in the area during 2012. This is partly responsible for making the challenge of
new development in the city centres such as Newcastle even harder (hence Newcastle City Council
having to collaborate with Silverlink, the developer behind the Stephen Quarter scheme) in order to
try and help get Phase 1 committed and underway.
Whilst the purpose of this report is not to evaluate all the empty office spaces in Newcastle and
Gateshead, the high number of secondary (not Grade A) properties in both Gateshead and
Newcastle city centres represents both a threat and an opportunity for creative and digital business
sectors. The Ekos report (January 2012: The Creative Sector in Newcastle and Gateshead) identified
property as a key driver and important barrier to growth.
The Ekos report also states that “the number of creative businesses in Gateshead steadily increased
between 2003 and 2007 but then fell in 2008 (at the onset of the recent economic downturn). In
Newcastle, numbers of CI businesses increased year on year since 2003. One of the largest rises was
between 2007 and 2008 despite the economic downturn. Combined with falling employment this
suggests fragmentation within the sector”. The impact of this fragmentation is important in property
Creative Space Management & Culture Works
18
requirement terms: there are likely to be a larger number of smaller, but experienced creative
businesses and organisations looking for flexible, high value accommodation. This has been borne
out by the relatively fast occupancy of Toffee Factory, of strong take-up at Northern Design Centre
and the high take up of space across Ouseburn cluster.
So whilst, like other sectors, the Creative Industries business stock has declined in Newcastle and
Gateshead, there appears to be signs of greater fragmentation, more freelancers and accelerated
growth (albeit from smaller companies) in more recent years. In particular software development
and film and television have seen strong growth.
Business Stock in Newcastle and Gateshead by CI Sub-sector, 2009
Sub-sector
Newcastle
Gateshead
Total
%
Advertising
105
50
155
9%
Architecture
35
25
60
3%
Art & Antiques Markets
40
10
50
3%
Crafts
35
15
50
3%
Cultural Heritage
80
40
120
7%
Design
80
30
110
6%
Film & Video
205
50
255
14%
Music
45
10
55
3%
Performing Arts
145
50
195
11%
Publishing
65
50
115
6%
Software
235
125
360
20%
TV & Radio
70
55
125
7%
Visual Arts
80
50
130
7%
1,220
555
1,775
100%
Total Creative
Source: TBR
Our observation is that the relatively high void rates for smaller offices in Newcastle and Gateshead
and the increasing fragmentation of creative industries businesses argues for a new approach to
connecting up existing clusters which are in comparatively high demand, making them more
accessible to creative businesses based in city centre locations and positioning existing suites as
suitable for the sector. There is perhaps a mismatch whereby the decline in traditional service sector
businesses in the city centre means agents and property owners have not adjusted their
expectations or marketing strategies to the creative sector. Equally these businesses have not
necessarily assumed that city centre locations were affordable or appropriate for their business.
Creative Space Management & Culture Works
19
6.
Conclusions
The following conclusions are themes that reflect the mapping work, survey and strategic analysis
undertaken by Culture Works and Creative Space Management.
i)
Fragmentation
Both the DTZ2 and the Ekos3 report point towards the increasing fragmentation of general office
demand (business sizes) which is affecting requirement for office suites of 500 – 2000 sq ft in
Newcastle city centre and in Gateshead town centre. Our own creative sector survey also indicates
the problems that they perceive in identifying workspace and that they clearly need more help (or a
different type of help) to identify suitable accommodation and that which is on sufficiently flexible
terms to meet the requirements of their business. The point here is that there is a mismatch
between the general market perception of where and when new occupiers may take up smaller,
older suites in both urban centres. Combined with the need for high levels of flexibility, lack of
financial capacity, lack of expertise around property or related technical services, we have a sector
which is not perceived to be of sufficient value or reliability (covenant strength) to be suitable
tenants.
ii)
Success of emerging and existing clusters
From the mapping analysis undertaken by Culture Works, it appears that occupancy and activity are
much more pronounced in these identifiable clusters. The feedback from occupiers suggests that
the value of the ‘community’ is a key issue for accelerating and stimulating the growth of clusters
and attracting and developing creative businesses. This is not simply an issue of proximity but of
collaboration; of skill sharing and utilising aggregated resources. At Hoult’s Yard, at Toffee Factory,
at Pilgrim St or Northern Design Centre, these advantages are tangible and have the effect of
generating more demand from new or emerging businesses that value this as much (or even more)
than the quality and infrastructure provided within multi-occupancy buildings. This suggests that
where there are existing or emerging clusters of creative businesses, such geographically proximate
networks are much more likely to support growing enterprises and this is despite a more general
market failure (around workspace and property) across the city region.
iii)
How people find and access creative workspace
The Google map of workspace locations is an important new resource and a key outcome of this
project. The survey and our own knowledge of the sector from across the region suggest that
creative industries companies do not use property agents and that they find identifying suitable
property difficult i.e. it is a significant barrier to growth. Culture Works’ database and the new
locational resources is an important new asset to overcoming the challenges for creative businesses
to access new workspace. We believe that there is greater scope to help more creative businesses
identify suitable workspace; to maximise the value of existing clusters by linking them to occupiers
of adjacent buildings or blocks that can benefit from the services provided but which widen the
potential empty spaces accessible to potential occupiers without necessarily having to become
2
3
Newcastle Property Market Overview and Demand Assessment DTZ (Newcastle) 2010
The Creative Sector in Newcastle Gateshead January 2012
Creative Space Management & Culture Works
20
tenants of those buildings i.e. there is scope for the micro-clusters identified in this study to have a
wider impact on areas around them, linking non-sector branded buildings to their own networks.
iv)
Failure of traditional service sector offices
To some extent, if the urban cores were more effectively fulfilling their potential (as centres for
financial and professional services), then creative businesses and artists would, as they have always
done in the past, simply be focused on low value, city fringe locations. To some extent the clusters
identified do reflect this historic behaviour characteristic of many European cities (not just the study
area) and there appear to be many locations (such as above central retail areas) where there are
some three to five floors of chambers (such as in Newcastle city centre) that are markedly failing to
find new occupiers. As suggested above, the availability of these types of suites (older, secondary
but central location multi-occupancy properties) suggests that there should be opportunities for new
types of occupiers but perhaps linked to existing clusters of creative hubs. So whilst there is
identified need for expansion of existing clusters, there is also scope for expanding the range of such
clusters by collaborating with existing property owners to create freestanding locations in the urban
centres which enjoy the benefits of the network but are not directly co-located.
v)
Evolution of meanwhile and temporary uses
The evolution of meanwhile and temporary use spaces as a resource for creative industries sector is
neither new nor innovative but it is currently of much greater importance for businesses to find low
cost space in which to experiment, to deliver new services (or their current ones) or to utilise
additional spatial capacity to try out new projects and ideas or to commercialise their activities in a
way that would be not be possible in a modest studio. Where property owners or agents have
recognised that there are clear advantages to be gained from having a reliable, active occupier
meeting the direct costs (business rates, utilities, insurance, service charges) rather than holding out
indefinitely in a challenging market for a commercial rent, then short term occupiers and meanwhile
uses are occurringboth across the city region and nationally.
The Culture Works database provides new opportunities for property owners and agents to take a
more pro-active approach to finding suitable occupiers who will add value as active users rather than
simply commercial tenants. Equally for creative enterprises there are perhaps new opportunities to
be more ambitious both in terms of the scale of new projects and the location, if they are able to
convince property owners that they can be a reliable, active and responsible occupier.
vi) Role of public sector
In the current public policy context, the public sector is less likely to be able to play as pro-active role
(as it has done historically) in addressing or facilitating approaches to these significant challenges.
This means that the role of existing cluster hubs becomes more and more important as they will
continue to be gateways of data, points of connection across creative sub-sectors and sources of
know-how and expertise. What remaining public sector investment (such as European Structural
Funds) should be channelled towards existing creative hubs and centres of activity in order to
concentrate interventions on these networks as they will be in the strongest position to be
sustainable in continuing challenging economic circumstances. It will be more important than ever
for such networks to develop sustainable financial models and for creative businesses to recognise
that the extent of support they have historically had may not always be available unless they start to
Creative Space Management & Culture Works
21
make a financial contribution. This perhaps is not simply relevant to the creative sector but applies
across a much wider range of public services, third sector and social enterprises who will be have to
become increasingly entrepreneurial to adapt to the current funding and public policy context.
Key initiatives led by organisations such as Science City (in relation to Science Central), a partnership
between Newcastle City Council and University of Newcastle, are likely to have a further impact on
the supply and take up of Grade A office space in Newcastle City Centre and effectively represent
the development or expansion of life science and sustainability related spin off businesses. The
operators of Science Central may also need to not simply look inward at their own spatial targets (in
terms of occupancy) but to take a broader view about the city centre in order to counter the
challenge from out of town business parks (Cobalt and Quorum for example) which represent the
only major growth areas for Newcastle office take up over the last 18 months.
There may also be other opportunities for the local authorities to utilise their existing property
assets (particularly vacant buildings and land) including those that are operating but which have
historically had limited re-investment due to constraints on resources. These represent important
opportunities for growth in which private sector partnerships and collaboration could lever in new
investment and energy. There are a number of partnership models which can allow the public sector
to retain ownership or control but which create new opportunities for investment and growth which
would otherwise remain under-developed.
There is, therefore, scope for multiple sectors to collaborate establishing their own referral networks
for enquiring businesses, for updates on new tenants and for a culture of openness and
transparency that recognises the benefits of sharing and linking networks as a means of generating
new opportunities and critical mass. This is what cities are meant to do but where new initiatives are
being taken and where the failure of the market to attract sufficient growing companies is affecting
other businesses, then more effort needs to be made by all participants in new or growing locations
(Stephenson Quarter, Science Central, Gateshead Quays) to overcome the inherent disadvantages
which the recession has only deepened.
vii)
The challenge of attracting new businesses to the city and town centres as well as
sustaining indigenous growth
Underlying the fragmentation and market failure issues is that the strengths of the city and
urban centres are not realising their potential and much more as to be done to both protect
those existing hubs and networks (in terms of ensuring that they can grow and expand as
valued business clusters), without them becoming secondary to other commercial drivers
such as student accommodation, nightclubs, bars and the evening economy for example. There
is a much wider obligation on key agencies (e.g. NGI) to help keep these important issues on the
agenda if we are to make the central business districts attractive as locations for a new generation of
service businesses (including creative enterprises). Creative businesses have strong potential to be
positive contributors to the core commercial areas of a city centre but their needs should be
balanced against other competing uses. There are a number of potential strategic actions that NGI
and their partners and stakeholders could take including the development of a group of case studies
illustrating the breadth of companies and creative talent in the region, a network of sector
champions prepared to meet up and host visits from visiting international delegations and potential
Creative Space Management & Culture Works
22
re-locating businesses; developing alumni networks to stimulate people ‘returning’ to the region to
locate their business; photography and ‘product’ directories which reflect the software, film, content
industry products (for example) that have been made in the region.
The property challenge is both to address the current weaknesses and to position the central
business districts (in Gateshead and Newcastle) and their links to the existing clusters as attractive
for specific types of small inward investors who want proximity to existing networks, the Universities
and to the wider cultural and social offer.
7.
Key actions and next steps
The following key actions are suggested as possible next steps. It is acknowledged that there may
not be the resources or opportunity to take all of these forward but they are intended to be as
practical as possible, even if the resources may not immediately be available.
i)
Maintain the database and mapping service on an annual basis and distribute to
stakeholders to ensure that it is profiled on relevant web sites and promotional material
as the service has the potential to add significant competitive advantage to both
Gateshead and Newcastle. Hold an annual informal event for property owners and
agents to raise the profile of creative industries clusters, focus on successful examples
and scope for business growth.
ii)
Support the continued growth of niche creative clusters across the city region in order to
consolidate existing and emerging clusters. Further public sector investment should be
focused on existing clusters.
iii)
Promote the ladder of provision and grow-on from temporary, pop-up or ad hoc spaces
to mature clusters and networks of creative enterprises. Issue press releases (2-4 per
year) and social media activity to reflect increasing activity across these locations and to
maintain wider property industry awareness of potential to engage with creative
businesses and cultural organisations as part of short-term or temporary projects.
iv)
Identify specific locations and properties where there is a need to tackle long-standing
secondary empty office space in city centre locations (Gateshead / Newcastle) and
discuss with asset owners and agents options for animating and activating specific
spaces. Reviewing a prioritised target list each year would help focus on the key
challenges.
v)
Instigate a focus group of property professionals to meet once per year (at one of the up
and coming creative industries locations) to identify new properties and asset owners
who may be prepared to collaborate with creative industries businesses to provide short
or medium term workspace or other forms of creative space.
Creative Space Management & Culture Works
23
vi)
Newcastle City Centre: develop a mini-project to showcase under-utilised space suited
to studio workspace in ‘traditional’ office locations, where landlords will agree to low
rental occupation on temporary licences. Create strong visual images showing the
creative use of such spaces, with (if possible) opportunities for pop-up exhibitions or
open days to act as demonstrators for how well-located, traditional office space in a
central location could be re-adapted or alternative uses.
vii)
Establish a creative workspace twitter feed, generated as part of the database which
tweets an image and availability of new creative work spaces and studios across the city.
Collaborate with agents so that they feed new in to this marketing channel. Support with
Pinterest and Flickr collections of images of creative workspaces across the Newcastle
Gateshead city region.
viii)
Encourage creative businesses and organisations to share their experiences about
workspace which can be linked to the database and mapping service, providing an
example of how they found their space, how it has developed their work / business and
the immediate community and context.
ix)
Consider establishing a stronger, public brand for this initiative as part of its long term
viability and popular use i.e. create a more recognisable initiative that can act as a
headline for wider press and media profiles.
x)
Share know-how and examples of opted-out (of the Landlord and Tenant Act) licence
agreements and lease templates in order for property owners and agents to evaluate
low-cost, plain English agreements to reduce transaction costs for temporary and shortterm uses.
xi)
Working with NGI identify a network of creative sector champions (network managers/
business owners/ key players) who are prepared to be advocates for inward investment
enquiries and visits from prospective clients.
__________
Creative Space Management & Culture Works
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Appendix A: List of people consulted/contacted
Tariq Albassam, NE1
Tim Bailey, xsite Architecture
Mandy Baxter, The Crack
Rod Bennett, property agent
Graham Bone, Newcastle City Council
Rachel Brown, Biscuit Factory
Alex Charrington, artist
Richard Clark, Project North East
Deborah Connor, Newcastle City Council
Jenny Gillatt, Mosedale Gillatt Architects
Jayne Graham, Space on Tap
Tony Hordon, DTZ
Nick James, Mushroom Works
John Laidler, The RIP
Diane McElligott, Newcastle City Council
Paul Murphy, property agent
Andrew Rothwell, Newcastle City Council
Settle Down Café
Sugar Down Bakery
Andrew Tate, Gateshead City Council
Mike Tilley, Newcastle Arts Centre
Vikki Wakeman, east Street Arts
Catherine Walker, Newcastle Gateshead Initiative
Rami Zack, Biscuit Factory
Appendix B
Creative Space Management & Culture Works
25
refno
category
Temporary spaces
Hybrid studios/offices
Artist studios
Secondary ofices
Artist studios
Hybrid studios/offices
High spec offices
Secondary ofices
High spec offices
High spec offices
High spec offices
High spec offices
Secondary ofices
Hybrid studios/offices
Secondary ofices
Temporary spaces
High spec offices
Location
totalSqFt
totalSqM
occupancy
sub totals
Gateshead Station
8000
743
100
Blaydon
32022
2976
85
Burnopfield
2000
100
Centre
10975
1020
72
Felling
1633
497.91
40
Felling
5091
1552
74
Felling
3503
1068
76
Gateshead Quays
19032
5801
Gateshead Quays
36000
Gateshead Quays
131000
40
Gateshead Quays
24,500
2276
21
Gateshead Quays
19067
1772
74
229599
Gateshead Station
5634
524
70
Saltwell
5000
381
100
Saltwell
40000
929
Team Valley
6955
646.13
80
Team Valley
30500
380912
86 Quorum Business Park
115 West Fifteen
High spec offices
Hybrid studios/offices
Benton
Benwell
27 Byker Business Development Centre (i2)
61 Kingsland Church Studios
137 Chillingham Industrial Estate
Hybrid studios/offices
Hybrid studios/offices
Industrial space
Byker
Byker
Byker
20
69
87
88
89
90
2
5
7
22
28
35
36
47
52
65
67
77
78
81
102
117
129
130
144
99
29
30
71
109
116
Blandford Square
Newcastle Arts Centre & Black Swan Yard
Railway arches 1
Railway arches 2
Railway arches 3
Railway arches 4
20 Collingwood Street
63 Westgate Road
Adamson House
Bolbec Hall
Central Parkway
Collingwood Buildings
Cooper's Studios
Grainger House
2 Collingwood Street
Milburn House
Neville Hall Mining Institute
Old Casino
Old Post Office
Pepe Building
St Nicholas' Buildings
Westmorland Business Centre
Cathedral Buildings
Dean Court
St Nicholas' Chambers
Square Bubble
Central Square North
Central Square South
Newcastle Business Village
Turners Building
West One
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
High spec offices
High spec offices
High spec offices
High spec offices
High spec offices
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Central
Beacon
John Buddle Work Village
Lynnwood Business Development Centre (i8)
Riverside Studios, Newcastle Business Park
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
High spec offices
119 Wingrove House
50 Grainger Suite
143
21
106
44
37
40
105
45
8
12
13
96
51
26
98
41
147
Property name
Tyne Bridge Retail Park
Blaydon Business Centre
The Garden Shed
Gateshead International Business Centre
Craftworks
Design Works
The Annexe
Gear House Business Centre
Aidan House
Baltic Place
Baltimore House
Northern Design Centre
Greenesfield Business Centre
Brighton Road Studios
Saltwell Business Park
Eleventh Avenue Studios
Regus Centre Gateshead
TOTAL
900,000
41,564
83,610
3,861
42
19500
8405
30,343
1812
781.09
2820
100
100
92
1950
22467
319
1,080
1,278
1,515
10624
3425
11173
20,272
10000
183.1
2088
29.6
100.3
118.7
140.7
987
318.34
1038.4
1884
929
0
83
0
0
0
0
16,297
12379
11965
106,900
11909
2565
1905
9690
64106
14244
25,454
8768
15,377
1108
68,468
39,999
9796
11345
43,981
1,514
1150
70
20
85
87
103
6363
3716
910.4
1054
4,085.80
Elswick
Elswick
Elswick
Elswick
20389
15214
24000
32280
1895
1414
2230
3000
Secondary ofices
Fenham
10000
Secondary ofices
Gosforth
Artist studios
High spec offices
Haymarket
Haymarket
High spec offices
Industrial space
Heaton
Heaton
Artist studios
Jesmond
Temporary spaces
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Manors
Manors
Manors
Manors
Manors
Manors
Manors
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
Station
1107
238.4
177
900
56
90
0
90
100
100
60
1323.8
815
73
80
55
60
78
62
358161
90
173,589
560359
TOTAL
14
60
62
70
28609
90
82
80
TOTAL
91883
103 St Thomas Street Business Centre
133 The Hub
15 Benfield Studios
32 Cloth Works Business Centre
135 Banqueting Hall
25
38
42
46
53
55
72
Bridge + Tunnel Studios
Croft Stairs
Executive Centre
Generator Studios
Hadrian House
Holy Jesus Hospital
Newcastle Technopole
0
6846
7,000
29526
650.3
2743
90
22,396
18161
2,080.60
1688
90
30
4500
1507
2200
30440
27316
74588
6716
29495
100
355
206.6
2828
2539
6932
624
2741
25
0
43
70
50
100
1507
125
126
127
128
79
Alderman Fenwicks House
Cale Cross
Carliol Central
Carliol Chambers
One Trinity Gardens
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
High spec offices
Manors
Manors
Manors
Manors
Manors
6864
100000
5552
20274
113960
637.95
9300
516
1884.2
10591
0
66
87
95
68
95
11
56
57
111
113
123
124
131
132
134
31
The NewBridge Project
Commercial Union House
Baltic 39
8-14 Hood Street
Hood Street
Union Chambers
Watson House
30-32 Grey Street
33-39 Grey Street
Earl Grey House
Gainsborough House
Norfolk House
Citibase
Temporary spaces
Temporary spaces
Artist studios
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
High spec offices
Monument
Monument
Monument
Monument
Monument
Monument
Monument
Monument
Monument
Monument
Monument
Monument
Monument
29,000
49055
9996
1626
8500
2436
25000
1354
12808
31135
24000
4955
30000
2,694.10
4559
929
50
66
789.7
0
126
1190
0
60
90
75
0
80 Owners Business Centre
112 Walker Davison House
138 Riversdale Court
Hybrid studios/offices
Secondary ofices
Industrial space
Newburn
Newburn
Newburn
12555
3584
40285
1167
333.1
3744
3
16
17
34
104
24
43
58
66
74
75
83
39
4
23
33
82
97
101
107
146
64
108
120
10
121
140
141
145
36 Lime Street
Biscuit Factory
Biscuit Tin Studios
Cobalt Studios
Steenbergs Building
Brickworks
Foundry Lane Studios
Hoults Yard
Mushroom Works
NewsRoom
Off Quay Building
Quayside i4 (Newcastle Enterprise Centres)
Cycle Hub
53-59 Lime Street
Boyd Street
Cluny Annex
Portman House
Sailors' Bethel
Lime Square
The Old Pub
Maling Court
Media Exchange
Toffee Factory
Woods Pottery
ArtWorks, Star and Shadow Cinema
Hawick Trading Estate
Foundry Lane Industrial Estate
Hangar 51
Ford Street
Artist studios
Artist studios
Artist studios
Artist studios
Artist studios
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
Hybrid studios/offices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
High spec offices
High spec offices
High spec offices
Industrial space
Industrial space
Industrial space
Industrial space
Industrial space
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
Ouseburn
25000
16000
10000
8000
2633
3000
5000
120,000
4500
2000
15000
26000
3463
3000
7000
5000
25000
5000
4,937
6000
18000
22000
17000
4,000
12,886
68118
11,147
7479
21571
85
9
84
100
110
122
93
94
Quayside Studios
Akenside Studios
Quayside Lofts
St Ann's Quay
Tyne House
Quayside Offices
Regus Centre Newcastle
River View
Hybrid studios/offices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
Secondary ofices
High spec offices
High spec offices
Quayside
Quayside
Quayside
Quayside
Quayside
Quayside
Quayside
Quayside
Secondary ofices
Sandyford
TOTAL
TOTAL
371.6
1,210
6330
1036
695.1
2004
9000
2534
1332
2421
44595
2725
22978
70,000
836
235.5
123.8
225
70
70
0
0
10477
973
2415
322
458.6
78,055
9996
111814
30000
229,865
92
68
85
100
100
95
50
100
100
100
85
100
100
90
75
100
100
67
100
90
100
80
100
75
70
100
100
50
85
100
100
0
244.7
303445
113960
418912
TOTAL
61633
175500
77400
61000
121,201
536988
253
6,503
TOTAL
155585
76 Old Brewery Court
19
1
139
18
114
59
Blackfriars craft & retail workshops
1 and 5 Charlotte Square
House of Recovery
Blackfriars Court
Wellbar Central
i6 Charlotte Square
Artist studios
Hybrid studios/offices
Hybrid studios/offices
Secondary ofices
Secondary ofices
High spec offices
St
St
St
St
St
St
James
James
James
James
James
James
1200
22295
3756
2,002
120000
23000
118
136
92
63
Westway Industrial Estate
Bath Street Workshops
Redburn Road
Mayfair House
Industrial space
Industrial space
Hybrid studios/offices
Hybrid studios/offices
Throckley
Walker
West Denton
Westerhope
26240
16011
9042
40092
2072
349
186
2137
80
100
95
0
50
46
71
TOTAL
172253
2438
1488
838
3726
93