BRISTOL + BATH x DESIGN BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Final Report November 2016

Challenge: To understand the economic and cultural value of design in the Bristol and Bath region. CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Contents

Executive Summary 1 Introduction 8 Why is this Important? 10 Why Bristol and Bath? 12

Research Design and Methods 16 History Matters 20 Measuring the Value of Design 44 Findings 52 Mapping the Territory 52 The Designers 58 The Designers’ Voice 66 The Design Business 88 How do Designers and Design Businesses Work? 98 What is Important to Designers and Design Businesses? 120 What Could be Done to Enhance the Design Industry in the Region? 128

The Bristol and Bath Ecosystem 138 Conclusion 152 Outcomes of the Project 160 Recommendations 164

Case Studies of Partners 170 Bibliography 174 Appendix 176

Credits 180 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Executive Summary

The aim of the project was to collect data on design Why we were selected companies in the Bristol and Bath region, and to gain a better understanding of the economic and cultural value The AHRC and the Design Council have been working of the design-led sector. To do this, our primary research together over the last four years to understand was to develop a range of qualitative and quantitative how design plays a key role in creating economic methods that could gather and then analyse the data. benefits and social value in the UK. They want to explore design research in UK universities and its connections with businesses and policymakers. Why mapping and Bristol and Bath were identified as a thriving area for design and as two of the nine ‘creative hotspots’ understanding design across Britain in the 2010 NESTA Creative Clusters and Innovation report. Since then, the local city is important councils and the West of England Local Enterprise Design has never been properly mapped or Partnership have been keen to support and develop measured. The Bristol & Bath by Design project the growth of related key sectors, including creative [BBxD] contributes to understanding about design and media, advanced engineering and micro-electronics and the different types of values it can bring. and silicon design. At a regional level design is integral to economic activity. It is important for policy makers to understand The team why design companies are here. According to the 2015 Bristol Media Barometer, over 13% of Bristol’s business As a project team we are highly cross-disciplinary, units are in the creative sector. Bath has more creative bringing together researchers and expertise from enterprises per capita than any other area in the South- UWE Bristol, Bath Spa University, and University of West, with 57% more people employed in the creative Bristol. We have worked with key regional partners, sector then the national average. the West of England Design Forum, Bristol Media, Creative Bath, the West of England Local Enterprise Much of the design sector is hidden. It is important Partnership and the REACT Hub. to map design in the region, to demonstrate the networks and clusters of activity. By mapping and evaluating design-led enterprises, we can gain a The aims better understanding of the value of inter-regional co-operation in the sector. These transferable For this project, design is considered in its broadest methodologies can be used to understand and field, with a particular focus on six key sectors evaluate the impact of the design sector in any region. for which the Bristol and Bath region is known: ++ Engineering, aerospace, product From a national perspective, we can understand and package design the contribution the region is making to the UK ++ Multidisciplinary design studios economy. It is clear design plays a major role in the ++ Applied designer-maker studios flow of capital into the UK. Company and national ++ Content: animation, motion graphics, competitiveness is today inextricably linked with television/film and publishing design. In addition to the financial benefits the ++ Fashion and textiles UK makes many recognizable products, services, ++ Architecture, heritage and landscape design artefacts, and BBxD provides an understanding of the source of UK design that contributes to an international export of which we can feel proud.

1 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Executive Summary

are the primary part of the ecosystem, other

Our methods Why is our research different We have found public bodies and organisations play a vital role in facilitating and supporting the design The objective was to capture and understand We have studied the value of design through the 1. Our research has shown that a great deal of sector. They are: education, public sector economic and cultural value in the Bristol and Bath combined efforts of academics from disciplines design work in the region is under-appreciated, and not-for-profit; essential for providing region. Our multidisciplinary methods sought to including design, art, history, creative industries, unacknowledged, or ‘hidden’. space, sharing experiences and ideas, for gain a holistic understanding as to why designers engineering, economics and management strategy. connecting designers with collaborators chose Bristol and Bath, how and where they 2. Design-led companies in the region have and clients and as beacons to promote and worked, their connections across the region, We have undertaken in-depth conversations with increased levels of productivity. Design-led attract designers to the region. and what they needed to grow their business. design companies (from engineering to illustration). companies based in the Bristol and Bath region We used a combination of quantitative and We have used Enterprise Imaging to demonstrate have 3-5% higher turnover than the average 6. Design is integral to a diversity of commercial qualitative methods: the complexity of the design network. The success design companies elsewhere in England and activity in the region in its role as a process for of Enterprise Imaging as a tool to engage and capture Wales. Small design firms in the Bristol and creativity, innovation and problem solving, as ++ We used statistical analysis and data mining. information about design firms has led to substantial Bath region are 14% more productive than means of communication, and in the value it Using SIC codes for the design industry, data that was not anticipated in the original application. the average small non-design company and adds to the experience of the consumer. we collected financial data from the UK’s 3% more productive than average small design- Office for National Statistics [ONS]. The methodological approach has allowed us to led companies across England and Wales. 7. The long history of design in the region shapes ++ Using wide-ranging keywords relating organise and translate qualitative into quantitative the character of present-day design enterprise: to design activity, we searched for design data. The project is innovative in the development of 3. Enterprise Images show that designers and from the woollen trade in the middle ages leading companies on the Internet using BS and BA transferable methodologies to evaluate the impact design companies are not creating goods to pioneering experiments at the beginning postcodes. We collected over 3300 company of design in any region. and services in isolation, but are working in of aviation, resulting in a regional specialism names, postcodes, and their website addresses. relationship with a number of regional and in aerospace and the high-tech industries. ++ We used primary sources from museum Visualising data is a powerful tool that is more non-regional companies and individuals to Concurrent to these activities are the artisan and collections and made a detailed literature compelling than text. In order to convert our data, co-create economic and cultural value. craft industries that have always been present review and survey of the history of design we have worked with designers on a range of info- throughout the centuries as demonstrated by the in the Bristol and Bath region. We made a graphics, website and interactive software app that 4. Across all sectors, designers cited the regional long histories of Bristol and Bath schools of art contextual survey of contemporary design maps designers working in this region. We consider network of flexible, highly-skilled companies and design. activity and research from around the world. these visualization methods to be a very important and individuals that can be relied upon to deliver ++ We interviewed and recorded designers component of the methodology. a project, as well as a strong community of 8. Good design changes societies’ perceptions. through in-depth online and telephone people that are open to ideas and ventures, Design makes an important contribution to surveys, focus groups, social events and There is no specific literature on the history of design as key reasons for success and for remaining lifestyle as demonstrated by positive regional semi-structured interviews. in the Bristol & Bath region. Our extensive historical in the region. exemplars (e.g. Cameron Balloons, Wallace and ++ To interrogate the interview and survey data survey has described a clear social and historical Gromit, Brunel’s suspension bridge in Bristol, we used Importance-Performance Analysis context for the region, which demonstrates the 5. Our design ecosystem demonstrates that and the Georgian architecture of Bath). (IPA) and an Enterprise Imaging (EI) technique. richness and diversity of design in its broadest while private companies and freelancers ++ From the data collected during the interviews sense. The history goes beyond a literature review. and history survey, we developed different It entailed a review of literature in support of primary visualisation methods. research in museums, libraries, archives, galleries ++ Using the data mining from the Internet, and other collections, as well as numerous meetings we created an interactive software app that with historians and curators. plots the design activities across the region, subject specialism and place of work. The history timeline demonstrates key points in the last century, the impact of government policies, changes in government, roads and infrastructure, the arrival of key industries, and charts how this has profoundly impacted on the region’s economy and activity.

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Executive Summary

RECOMMENDATION FOR IMMEDIATE ACTION LONGER-TERM RECOMMENDATIONS Business support Our recommendations One recommendation, that is feasible and would make In the medium and long term we recommend activity Provision of business support in the form of mentorship an immediate impact: that would have wide reaching benefits and sustain schemes delivered by not-for-profit organisations, Our recommendations are based on what designers design in the region. tax relief, and support for small levels of growth. have told us from interviews, surveys and workshops, Hold an international design festival and which are supported by economic data. in the region Question definitions of growth Connectivity

This would: To increase the economic value of design across the Central to the delivery of growth is greater connectivity Our primary recommendations are around growth, region there needs to be recognition that many design and collaboration among higher education, private, identity and access, as without these key components, ++ Raise the identity of the region as a place for companies wish to stay small to remain agile. To grow public and not-for-profit organisations. They need nothing else can take place. Central to the delivery, design and demonstrates that the quality of design in the region it is necessary to think about to work together to support the design network. all stakeholders in the region (not-for-profit, higher the work is of international standing. growing the network of designers rather than turning education, public, private) need to work together to ++ Serve as a beacon/attractor for designers, SMEs into large companies. Regional and national policy Ensuring high-speed internet and a good transport support the design network. Decisions about how we design companies and clients. should consider how this might be supported. system to keep designers connected within the move forward cannot be undertaken by one group ++ Show the region as a place that has guaranteed region and in contact with the rest of the world. alone. We also need ambassadors who are advocates expertise, knowledge, innovation and creativity. Design beacons and ambassadors for the region and for design. ++ Be a creative stimulus for design companies Design needs regional champions who will advocate Co-ordination who are working here and an opportunity for design and provide a focus for promoting the Identification of and funding for a way to co-ordinate Most importantly, many design companies said they to showcase what they do. region’s identity. Exemplars of outstanding practice, activity to support and develop design in the region. wished to stay small and remain agile. Therefore to ++ Allow the region to stand alongside other often overlooked or not publicised, should be identified All agencies in the region need to co-operate in grow design in the region it is also necessary to think UK cites currently hosting design festivals. and ways found to involve them in raising the profile achieving this. about growing the network of designers rather than of the region. Universities should be encouraged to turning SMEs into large companies. It is essential that all stakeholders in design - be more pro-active and involved in design activity. Create a design district businesses, not- for-profits, universities, LEPs and The high quality of design higher education should be Identify areas of design activity that can highlight local authorities - come together to make this happen. supported to ensure a flow of new talent to the region. commercial enterprises, can increase business and tourism and enrich an area. Create a coherent image Affordable space for this and promote it within and beyond the region. Provision of affordable, centrally located creative workspaces is a priority. Allied with this is support for The establishment of design hubs and recognition of the value of social and exhibition These should provide affordable workspace, spaces in which designers can meet clients and educational spaces, social and exhibition spaces. collaborators. Design hubs would act as beacons for design in the region, as well as providing creative stimulation Open access and network support. They could be an important The industry should consider the openness of its element in a Design District. current practices to new and inexperienced arrivals. Design networks should be more visible, open and accessible to a diverse range of designers and clients. The region has good diversity of skills and markets, but there is a lack of cultural diversity in the backgrounds of individual designers. Out-reach to schools and colleges in order to improve the diversity of design professionals needs to be properly co-ordinated and not solely the responsibility of the private or education sector.

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All that we do, almost all the time, is design, for design is basic to all human activity. The planning and patterning of any act towards a desired, foreseeable end constitutes the design process. Any attempt to separate design, to make it a thing-by-itself, works counter to the fact that design is the primary underlying matrix of life.

– Papenek, 1984

6 7 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Introduction

In recent years, design has again emerged as a major topic of We have used conventional quantitative and THE RESEARCH AND qualitative methods, evaluating each as we INVESTIGATIVE TEAM interest. Though it is evident as a practice throughout all of human proceeded, and also adopting others which history, it matters now more than ever. Stakeholders in many were more innovative and experimental. UWE Bristol

countries are now beginning to recognise the role of design in a Our approach to the research was exploratory and ++Professor Jon Dovey (REACT) highly inter-connected and competitive global economy. Why it cumulative, changing and developing as new insights ++Jess Hoare and new knowledge emerged. We are confident that ++Professor Stephen Hoskins matters is complex because although there is a growing desire to the methods we have used, both to inform and to (Centre for Fine Print Research) understand the significant value that design can add to objects, communicate our findings, are transferable and will be ++Ellen Hughes useful for anyone who wishes to understand the value ++Verity Lewis places and organisations, design is driven by more than just an that design brings to their region, city or company. ++Dr Pei-Ling Liao economic benefit. ++Dr Aaron Mo Design matters because it is important to the ++Adrienne Noonan economy but it has an impact and value beyond (School of Art and Design) quantitative measure. It is now more necessary than ++Professor Carinna Parraman ever to know the industry. As the discussion of our (Centre for Fine Print Research) findings shows, we are hopeful that Bristol & Bath by ++Dr Glenn Parry Design has created knowledge and raised questions (Faculty of Business & Law) that will contribute to sustaining and developing ++Professor Don Webber Design is everywhere. We interact, use and benefit Beyond their economic value, we recognised that design in this and other regions. (Bristol Business School) from design on a second by second basis. Design is design is inextricably connected to the social and at the core of our UK economy in that almost every cultural landscapes of cities, regions and countries. Bath Spa University organisation incorporates some element of the The project is geographically determined in its (Bath School of Art design function. Design is complex and nuanced. focus on the Bristol and Bath region. We needed and Design) It is multi-faceted and bridges different disciplines. to understand the relationship of people and place It is embedded in our society, in our history and to the design process. We also know that historical ++Dr Graham McLaren culture. All of this understanding makes it difficult change connected to industrial development and ++Dr Kayla Rose both to extract and understand the ‘value’ of ‘design’. urban regeneration, new approaches to policy can ++Professor Anita Taylor How can we articulate and apply a value to design drive and be driven by design. If we were to truly when it is so deeply ingrained in our lives and in the understand value and impact, our research design University of Bristol very fabric of our environment? and methods needed to cross disciplines and our approach had to be holistic and integrative. ++Professor Chris McMahon Wrestling with the complexity of this question, (Department of Mechanical finding ways provide valid and useful answers In order to begin the long-term process of measuring Engineering) have occupied this two-year project, which has and mapping the value and impact of design at a been funded by the Arts and Humanities Research regional level we decided on a broad definition of Council (AHRC) and Design Council. design: one that encompasses sectors within and beyond the creative and high-tech economies. Our brief was to understand and articulate the Our survey of past and current research into the area economic and cultural value of design in the Bristol led to the understanding that measuring the value and Bath region. Our interpretation of ‘design’ in this of design cannot be undertaken solely by collecting context includes the range of design-related jobs, statistical economic data. To understand the true beyond the ‘creative industries’, how designers and value of design to a region or a country social, their stakeholders are connected and why they are cultural and historical perspectives also need to be attracted to the region. captured, the context must be considered, human histories and motivations taken into account.

8 9 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Why is this Important?

Understanding the context in which it is working in is an essential This landmark document recognised that design is integral to economic activity. It is stated that the UK is ‘widely regarded as a world leader first step for any research enquiry. We started by looking at the across all design disciplines’ and was the world’s top exporter of design many sources of information about the nature and growth of the in 2000, generating around £1bn. Significantly it also noted that this important activity was dispersed, unco-ordinated and varied. Linked UK’s creative and high-tech industries and on the value and impact with this, and included in a range of recommendations to encourage of design, at the national and regional level. growth at national and regional level, was the recognition of a clear need for more mapping of the creative industries, in order to understand their nature and how they function, as well as to inform policy. The document recommended encouraging networking, communication and exchange; strengthening of existing creative clusters along with support for emerging creative clusters; and encouraging the retention of creative talent within regions. These recommendations still resonate today, ranging across publications on creative placemaking, creative and cultural clusters and urban growth and development. They were important in shaping the BBxD project.

The Geography of Creativity (NESTA, 2009) highlighted an increased recognition of the role played by the creative industries in driving innovation and economic growth across the UK. In 2008, the UK It is important to highlight here that our study has considered a much UK Creative Industries 2014 government published Creative Britain. This set out a comprehensive wider understanding of design, as listed in the following six key sectors: £84.1 billion Gross Value government strategy to develop and grow the creative industries. Added (GVA) Areas for focus included growing creative clusters that would promote ++ Engineering, aerospace, product and package design 5.2% of the UK Economy the UK as ‘the world’s creative hub’. Eight years on, government ++ Multidisciplinary design studios Sector Growth 8.9% estimates indicate that the creative industries in the UK now ++ Applied designer-maker studios UK Growth 4.6% consistently outperform other national employment sectors (DCMS, ++ Content: animation, motion graphics, television/film and publishing 2016) and contribute significantly to the UK economy. The creative ++ Fashion and textiles industries are growing and providing more employment year on year. ++ Architecture, heritage and landscape design People working in this sector are a dynamic part of the UK economy and numbers have grown over five times faster than for the UK workforce as The Creative Industries Mapping Document (DCMS 1998 and 2001) a whole (Bakhshi et al., 2013). In 2014 one in seventeen of all jobs in the was the first attempt to measure the economic contribution of the UK were in the creative industries (DCMS, 2015, 6). creative industries to the wider UK economy. The creative industries were defined as ‘those industries which have their origin in individual It has become clear that understanding design and how it functions within creativity, skill and talent and which have a potential for wealth and the wider UK economy is essential to continued growth and sustainability. job creation through the generation and exploitation of intellectual property’. ‘Design’ was included as a separate category of activity alongside, for example advertising, architecture, crafts, designer fashion, film and video, music, the performing arts, publishing, software, television and radio, tourism, museums, heritage and sport. It was a long list.

10 11 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Why Bristol and Bath?

Approaches to mapping the design industries in the UK have At the start of the project, what did we know about the region we are Location of employment researching? Economic information was not hard to come by. A selection in the creative industries shown them gathering in regional clusters and concentrations. provides a snapshot of the two cities from this perspective. Bristol is Like the creative economy the UK’s design economy is the only local authority outside London and the South-East to be in the ++London 11.8% top ten UK areas for design activity. (Design Council, 2015) According ++South-East 6.7% concentrated in London and the South-East, with one in five to the 2015 Bristol Media Barometer, over 13% of Bristol’s business ++South-West 5.7% designers and one in four design-intensive firms found in units are in the creative sector. Bath has more creative enterprises per capita than any other area in the South-West, with 57% more people London. However there are emerging clusters of design in employed in the creative sector then the national average. According other regions where the number of firms and employment in to the West of England LEP (2014), the creative industries provided an estimated 15,900 jobs in the two city region, contributing £660 design is growing. (Design Council, 2015) In the South-West, million GVA to the local economy and showcasing a 106% growth rate employment in this sector has been rising rapidly and in 2014 in productivity since 1999. In 2013 the Bristol and Bath sub-region accounted for a quarter of the South-West’s GVA. In February 2015, the region was third in the UK for this category of employment, the TechNation report ranked Bristol and Bath second only to London in only slightly behind the South-East. The capital and these two numbers employed in the digital economy (Bristol Media, 2015). There is also an impressive proliferation of creative and high-tech incubators regions between them accounted for almost a quarter of UK and co-working spaces, such as Engine Shed, SETsquared, Watershed, employment in the creative industries. Pervasive Media Studio, The Guild, The Glove Factory and Bristol Games Hub, as well as several independent creative studios, such as Spike The Arts and Humanities Research Council (AHRC) and the Design Island, Bath Artists Studios and Jamaica Street Studios. Council are committed to increasing understanding of this regional variation, of why and how clusters arise, grow and are sustained, of how Looking more widely, the cities are home to four universities, three their value, regionally and nationally, might be articulated. They chose colleges of further education, a large number of highly rated schools, the Bristol and Bath region as the focus for this study because, within and the city region has one of the strongest graduate retention rates in the South-West, it is the UK’s main purveyor of design activity outside the country. In recent years Bristol has sported a number of titles: Green of London and the South East. The range of design activity is varied: City, Learning City, Smart City. An associated focus on learning, culture although design overall is concentrated in London, the South-West is and sustainability has led to a great deal of activity including creative one of the areas with a higher concentration of product and industrial and high-tech innovation. While this activity is most clearly centred design. (Design Council, 2015) around the city of Bristol, particularly in specially designated spaces, the city of Bath and the surrounding areas prosper in conjunction with Bristol. The cities share a reputation for good quality of life and people show a real desire to live and work there.

The challenge for Bristol & Bath by Design was to find ways to investigate this complex area. We recognise that design activity is happening in engineering, particularly in the aerospace industry, for which this region has a long history. It was important that we look beyond the creative industries and considered design in its widest definition.

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14 15 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Research Design and Methods

From the start, as the composition of the research team firms, to map and understand the connections between designers and design firms, to understand how designers are embedded in the region indicates, this study was conceived as an integrative enterprise: and to better assess their value and how they create it. the contributions from different sources and perspectives would challenge and complement each other. Sources of information

In addition the approach was exploratory and cumulative in THE ONLINE SURVEY Between May and September 2015, we invited designers and design Sources of Information that the direction and emphasis of the research changed and companies in the region to take part in an online survey. The aim was to discover more about who they were, where they were, what they did, ++Statistical data developed as new insights and new knowledge emerged. how and why they came to be in the region, and their experience and analysis perspectives on a range of topics related to working in design in Bristol ++155 surveys and Bath. ++75 in-depth one-to-one interviews The two-part survey was designed by the research team and piloted ++29 telephone among a sample of designers. Our aim was to ensure that the phrasing interviews and style of questions were appropriate for designers across all sectors. ++3 Focus Groups Revisions were made to the language used and in relation to context ++Data mining and focus of some sections. The research design incorporated a classic combination of quantitative and qualitative methods, with the addition of a library-based historical Part One was directed to designers as individuals: freelancers and those survey of trade in the region. Statistical analyses would provide a solid who were employed in a company. This section asked for information about quantifiable basis for developing an understanding of economic value. where they worked, their expertise, the communities and networks they Surveys, interviews and focus groups involving the design firms and belonged to, their reasons for being in the region, their perceptions of the designers themselves, would provide additional quantitative and working in this location and how things might be improved. qualitative information, which, with the historical survey, would enable an evaluation of cultural value. Part Two was directed at design businesses. This section asked for more detailed information, such as the size of business, turnover, type of company, how they networked within and outside of the region, why An inconvenient truth they were in the region.

However, as we knew, design is a complex area. Our research soon The starting point for contacting possible participants was our research faced us with issues to be recognised and managed. The members of partners’ membership and networks. All contacts in these lists were our project team experienced in quantitative methods pointed us to an checked and cross-referenced to avoid duplication. We then used a ‘inconvenient truth’ about the design sector: it does not correspond very range of methods to publicise the survey: social media (Twitter and well to traditional SIC codes, which underpin classic statistical methods Facebook), email, blog, direct mail, word of mouth. A total of 1400 of economic analysis. This strongly called into question whether the people were contacted. standard economics way of estimating productivity truly reflects the success of the design sector in the Bristol and Bath region. In all 155 designers completed Part One and Part Two of the survey; a response rate of 11% was disappointing. It suggested, perhaps, something of the attitude of busy designers to online surveys. However A new emphasis the information we gained was very rich and the analysis identified areas for further development and gaps to be filled. Together we decided that it was essential to increase the number of interviews with firms and designers in order to have a more revealing accurate and nuanced picture of what actually goes on in design-related

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Research Design and Methods

INTERVIEWS Defining Design MAPPING THE REGION Defining the region At this stage we had, from the limited number of reports in the Design is considered in Finding more designers to talk to also brought into sharp focus an The region was defined by literature, a general idea of the possible pattern of design activity in the its broadest sense, with a understanding of how much of the design sector is hidden. The sources the postcodes of Bristol (BS) region. Our analysis of the respondents as a sample suggested that, in particular focus on six key for the qualitative element of the research were originally provided by and Bath (BA). An exception the main, it was representative of one particular sector. Almost 90% of sectors for which the region our partners in the project: their memberships and networks were the was made to include two respondents were in micro businesses with fewer than five employees. is known: starting point for our survey. It became important to attempt a more large engineering companies Only 4% represented a firm with over 50 employees. A large majority of complete mapping of design in the region, in all its complexity. Ideally outside this definition but the businesses were also well-established. Two thirds had been settled ++Engineering, a search for designers and design businesses would be undertaken on closely linked to the two in the region for more than seven years and almost a quarter of the aerospace, product the ground. Sadly for us we did not have the resource or the time to use cities: Renishaw in South whole sample for more than 15 years. and package design this method. Instead, this was undertaken using a variety of data mining Gloucestershire and Dyson in ++Multi-disciplinary techniques and is still in progress. Wiltshire. To adjust this imbalance we conducted telephone interviews with 29 design studios larger design companies. We also undertook a further 75 in-depth, semi- ++Applied designer- What we found by means of these different methods, how we brought structured, one-to-one interviews, lasting between 45–90 minutes. maker studios this knowledge and understanding together in a holistic overview, what Of these twelve were with large companies, with the rest divided ++Content: animation, questions were raised and what conclusions we drew can be found in between micro- businesses/freelancers and SMEs. 84% were in the motion graphics, the following pages. private sector. Half of the interviewees were employees, the rest were television/film and divided equally between company owners and freelancers. Interviews publishing were recorded, transcribed and then coded using Dedoose software. ++Fashion and textiles ++Architecture, heritage BS35 GL Sectors included in the in-depth interview sample and landscape design. NP BS32 BS37 BS36 Engineering and manufacture 19 BS10 BS34 BS11 S N Studios, agencies and consultancy 17 BS9 BS7 BS16 BS20 BS6 Content: animation, print, film 7 BS5 BS15 BS8 BS1 BS2 BS3 BS30 Architecture, landscape, heritage 8 BS21 BS4 CLEVEDON BS48 BS13 BA1 Fashion and textiles 3 BS14 BS31 BS49 BS41 Applied designer-maker studios 9 BS22 WESTON-SUPER-MARE BA15 Other (education, public sector, NFP) 12 BRB RISTOLR ISISTTOOOLL BRADFORD-ON-AVON BS23 BS29 BANWELL BS40 BS39 BA2 BS25 BA14 TROWBRIDGE We also conducted three focus groups with a total of 17 participants. BS24 WINSCOMBE BS26 AXEBRIDGE BS27 BA3 BA13 CHEDDAR RADSTOCK WESTBURY INNOVATIONS BA11 FROME BS28 BA5 Extending the qualitative dimension of the study led us to look for WEDMORE WELLS BA12 innovative ways to conduct interviews, to gather and analyse data WARMINSTER BA4 BAATA THH from participants. One of these, Enterprise Imaging, provided a tool SHEPTON MALLET BA6 that enabled us to create a visual representation of the resources used GLASTONBURY BA16 BA10 by provider and client in the creation of a product, service or experience STREET BRUTON BA7 (a value proposition). More than 40 of the 75 one-to-one interviews CASTLE CARY BA9 involved use of the Enterprise Imaging tool. WINCANTON SP

BA22 YEOVIL BA8 We also used Importance-Performance Analysis (IPA) on the survey TA TEMPLECOMBE data to identify areas for focus in the analyses of other data sets. BA21 BA20 D T BH

18 19 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 History Matters

Though the Bristol and Bath region never reached the height of Cossons a ‘new industrial The Hidden Legacy of Design industrialisation that was experienced in the Midlands and the North landscape’ was being of England, designing and making here has remained consistent and created in Bristol in the across the Bristol and Bath steady over the last three hundred years, with old industries replaced 1960s and 1970s. Through by new industries as dictated by time and circumstance. Tobacco, in a combination of the city’s City-Region particular, has played a key role in Bristol’s design identity in terms of surviving historical landmarks the illustration and printing of cigarette cards and packaging for tobacco and the establishment of new To understand the value and impact of contemporary design and products: namely, the world-famous cigarette cards by Mardon, Son and innovative industries, design-related activities in the city-region, it is important to consider & Hall for W.D. & H.O. Wills and later, the Imperial Tobacco Company. an impression was emerging the historical social, cultural, industrial and political contexts within The deck cranes that were aboard the Titanic were made by Stothert of ‘a living city changing in which the cities of Bristol and Bath have grown. NESTA’s report, History & Pitt of Bath. The Brabazon and Concorde airplanes were part of the response to the continuing Matters: Path Dependence and Innovation in British City-Regions, continually responsive aerospace industry in Filton. The ‘Bath chair’, forces of industrial and sought to determine the extent to which ‘history matters’ in determining was designed and manufactured by James Heath & Co. Fry’s chocolate, social development’. Despite the strength of innovation and adaptability in city-regions across the Powell & Rickett’s glass, Horstmann & Co’s watches and cars, and even the economic recessions United Kingdom. We share its conclusion that the creation of new paths the wigs for The Lord of the Rings movie trilogy, have all been designed that have occurred since for development within a city-region depends critically on that region’s and made in the region. the 1970s, the Bristol and previous history. Bath region has remained Radiating from the two cities, in the surrounding region, towns such as resilient as a result of its Some cities have struggled with the burden of their history. For others Bradford-on-Avon, Trowbridge and Frome also boasted a capacity for broad economic base, which their histories have provided models for adaption, innovation, change small-scale industry and traditional crafts, especially in the success of is driven, in part, by design. and resilience. What legacy has the history of design bequeathed to the woollen industry. The completion of the Avon Navigation scheme The Bath crane makers, the present and future city-region of Bristol and Bath? in the eighteenth century and the construction of the Great Western Stothert & Pitt, closed their Railway in the middle of the nineteenth century further connected iron works in 1989, however, Examples of design are highly visible in the region: the Royal Crescent the region, as well as providing stronger links to the outside world. they still exist today as a and the Circus in Bath, and the Clifton Suspension Bridge In Bristol Architecture, furniture, woodwork, wool, textiles, shoes, cabinets, design and consulting firm are icons of architecture and engineering. One provides an essence Some names from the past coaches, bookbinding, printing, engineering, metalwork, ceramics, in Bristol. By 1983, William of elegance and wealth in a city of leisure, while the other serves as a who brought their ideas glass, transportation vehicles and other luxury and every day items Harbutt’s ‘plasticine’ was no prime example of engineering and business acumen, a bold structure for into being in the region and have historically been made across the region and exported across local, longer produced in Bath, yet an industrial city. founded businesses make the national and international boundaries. As a result, Bristol and Bath and it was revived by Nick Park design heritage of Bristol and the region have maintained a vibrant and mixed economic base since the and Aardman in 1989 for the However, these perceptions and the essential historical identity of the Bath visible: eighteenth century and design activity continues within a diverse range ‘Wallace and Grommit’ films. Bristol and Bath region are the outcome of carefully constructed images of industries today. and driven by concentrated marketing. The story of Brunel, the Great ++Henry Stothert Western Railway and the S.S. Great Britain has established Bristol as an ++John Wood the Elder The idea of the functional city-region is tied most strongly to its ability innovative port city, one open to taking chances on high-value pursuits. and Younger to adapt to increased competition in a changing world; those cities that Contrasted with the image of elegant, leisured Georgian Bath as a spa ++James Mardon are able to re-invent their industrial past and create new industries resort steeped in Roman mythology, these differing views have played a ++The Wills and Clarks thrive in national and international markets. In the Bristol and Bath key role in defining the region’s cultural and historical identity. However, families region, long-established companies in traditional industries, including neither view represents the whole story and they exist against a much ++J.S. Fry Clarks and Stothert & Pitt, continue to define what happens here today, more complex backdrop that has been driven by designing, building ++Sir Stanley Hooker maintaining innovation alongside time-honoured traditions. At the and making. Industrial activity has been just as significant to Bath ++Sir Archibald Russell same time, young firms and freelancers are establishing new industries as its Georgian past. And while the significance of Bristol’s role as a and creating innovation in the region’s old industrial buildings. New port cannot be denied, the city once had its own spa, and the elegant and innovative design activity is continuously developing beside Georgian architecture of Clifton is just as much a part of the city as its established industries and companies, adding richness to the diversity Harbourside sheds and warehouses. Understanding all the pieces of the and resilience that defines this region. puzzle is necessary to determine the extent to which history matters in the development of design in the region.

20 21 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

History Matters

No small part of this is the role played by education. Further and higher Bristol’s tramways, under Whether driven by strong links between industry and manufacture or One of Bristol’s main education in Bristol, Bath and the wider region supports design and the dynamic leadership of Sir between art and craft, the on-going importance and value of the very functions within the region designers through a complex and comprehensive web of provision George White were the first different contemporary design identities exhibited by Bristol and Bath was as a source of capital. that has developed over the centuries in support of the region’s trades in the country to use electric can arguably be attributed to the historical development of design and Bristol’s financiers were and industries. The modern pattern of a range of degree-level courses traction. In 1909 White set industry throughout the modern period. The ability to maintain a strong its merchants, who had pursued by full-time students drawn from a national and international up the British and Colonial presence in the wider economy and culture of the United Kingdom in accumulated their wealth pool of applicants reflects developments in higher education that Aircraft Company (BAC). Its the face of changes, failures, and challenge is remarkable. We would through overseas trade have mainly occurred during the past seventy years. The local and 1916 Bristol Fighter was one argue that the legacy of design that exists in the region today is a in the seventeenth and regional frameworks underpinning them go back much further though, of the outstanding aircraft legacy of ideas, innovation and interconnectedness. early eighteenth centuries. for example the websites of providers ranging from HEIs such as the of the First World War and in They financed the Kennet University of Bristol and the University of the West of England to the the 1920s Bristol engines, and Avon Canal, Bristol further education sector City of Bristol College, all of whom support designed by Roy Feddon, Floating Harbour, Clifton design in their work, find common ancestry in the educational work were the most widely used Suspension Bridge, the of the Society of Merchant Venturers, whose Charter dates from 1552, aircraft engines in the Great Western Railway and and whose work and involvement with the region continues. world. By 1939 the Bristol roads. This tradition lives on factory at Filton was the in the Society of Merchant Design is and has been everywhere. It has left its mark in pre-history largest aerospace factory Venturers, among whose and in every age, period or epoch since. The story of design in modern in the world. In recent years early members was Edward times is tied to the history of industry, building and manufacturing. aerospace and defence have Colston, slave trader and When taken alongside social and cultural history, the industrial been among the defining philanthropist, memorialised development of Bristol, Bath and the surrounding region from industries of Bristol, through in Bristol and a subject of the eighteenth century to the middle of the twentieth century, the iconic Concorde with its much debate. the cycle of how companies begin, grow, and are replaced, provides Bristol Olympus engines, the the context necessary to understand the region’s economic heritage Bristol-engined vertical take- and overall identity. off Harrier and more recently through its association with Within the project we have questioned and debated whether artists, Airbus. The A320, the first designers and makers are drawn to places that have a historical Airbus aircraft, whose wings reputation for design and creativity and if the concept of a good place were designed in Bristol, is for design to flourish is more than a stereotype. Can the identity of place the world’s fastest selling affect the incidence of creativity? Historically, particular resources in aircraft family. Now the wings this region have driven designing and manufacturing in industries like are assembled in North Wales, wool and coal. The woollen industry that once drove the region is no and the primary role of Bristol longer its main export and the resources that contributed to its success is arguably the knowledge are no longer as important to the region’s development. What fuels the work of design and other regional economy now are ideas and innovation, things that are less technical functions. tangible and harder to measure.

Bristol is one city that has risen to the challenge of re-inventing old industrial activities and inventing new ones. With projects being commissioned and completed both inside and outside of the region, as well as the development of strong regional, national and international networks, the continued contribution of manufacturing and engineering industries to the regional economy cannot be understated.

22 23 CHALLENGE:CHALLENGE: TO UNDERSTAND TO UNDERSTAND THE ECONOMIC THE ECONOMIC AND CULTURAL AND CULTURAL VALUE OF VALUEDESIGN OF IN DESIGNTHE BRISTOL IN THE AND BRISTOL BATH AND REGION BATH REGION CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATHBRIST REGIONOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

History Matters History Matters / The Timeline

The Bristol and Bath design history timeline charts the development of The Timeline the diverse design sectors in the region. Starting with the wool trade in the middle ages, it highlights how the packaging industry was built upon The history of design in the Bristol and Bath region the tobacco, cocoa and sugar imports of Bristol’s triangular trade. It also shows the development of the aerospace industry from the beginnings has many stories to tell – some are about place, of flight and the impact of decisions to locate the Ministry of Defence some are about people and some are about what and the BBC in the region. they make. We have constructed a time line of people, events and activities that demonstrates the rich, varied and constantly evolving history of the region.

100 KEYKEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH

DESIGNDesign CAT CategoriesEGORIES CLASSIFICATIONS STAKEHOLDERS

PR PU NP E Engineering & Printing, Packaging, Content: Architecture, Fashion & Applied Designer- Beacon Company Company Infrastructure Policy Political Space Private Public Not for Education Manufacturing Studios, Agencies Animation/ Landscape & Textiles Maker Studios Change Formation Change Event Pro t 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL& Consultancies ANDMotion/Film BATHeritageH 13th C 13th C DESIGN CATEGORIES ClassificationsCLASSIFICATIONS STAKEHOLDERS

1697-1807 1720s-1920s 1702 1704-10 1727-Today 1728-69PR 1759-2011PU 1782-1994NP 1785-1989E 1786-Today 1804 1815 1823-Today 1825-Today 1828 1831-Today 1833 1835-69 1843 1844-1990 1851 1852-Today 1864 1876 1877 1880-2001 1881-2006 1882-1957 1897-1983 1908-Today 1909 1910-1966 1915-2001 1934-Today 1945-Today 1948-Today 1949 1961-Today 1961-Today 1961/62-Today 1966-Today 1966-Today 1969 1970-Today 1970-2012 1970-Today 1971-Today 1971-Today 1973-Today 1974-Today 1974 1975-Today 1976-Today 1976-Today 1977 1977-Today 1978-Today 1978-Today 1978-89 1979-Today 1982-Today 1985 1985 1985 1985 1985-Today 1985-Today 1986 1986-Today 1986 1987 1990-Today 1991 1994 1996 1998 1998-Today 1999-Today 2002-Today 2004-Today 2005-Today 2006-Today 2008 2008-Today 2008-Today 2010-Today 2010-Today 2011-Today 2012-Today 2012-Today 2013-Today 2013-Today 2013-Today 2013-Today 2015-Today 2016 2018

Engineering & Printing, Packaging, Content: Architecture, Fashion & Applied17th C Designer- Beacon Company Company Infrastructure Policy Political Space Private Public Not for Education 17th C Manufacturing Studios, Agencies Animation/ Landscape & Textiles Maker Studios Change Formation Change Event Pro t & Consultancies Motion/Film Heritage 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH 18th C 18th C 13th C 19th C 13th C 19th C DESIGN CATEGORIES CLASSIFICATIONS StakeholdersSTAKEHOLDERS 20th C 20th C 1697-1807 1720s-1920s 1702 1704-10 1727-TodPR ay 1728-69PU 1759-2011NP 1782-1994E 1785-1989 1786-Today 1804 1815 1823-Today 1825-Today 1828 1831-Today 1833 1835-69 1843 1844-1990 1851 1852-Today 1864 1876 1877 1880-2001 1881-2006 1882-1957 1897-1983 1908-Today 1909 1910-1966 1915-2001 1934-Today 1945-Today 1948-Today 1949 1961-Today 1961-Today 1961/62-Today 1966-Today 1966-Today 1969 1970-Today 1970-2012 1970-Today 1971-Today 1971-Today 1973-Today 1974-Today 1974 1975-Today 1976-Today 1976-Today 1977 1977-Today 1978-Today 1978-Today 1978-89 1979-Today 1982-Today 1985 1985 1985 1985 1985-Today 1985-Today 1986 1986-Today 1986 1987 1990-Today 1991 1994 1996 1998 1998-Today 1999-Today 2002-Today 2004-Today 2005-Today 2006-Today 2008 2008-Today 2008-Today 2010-Today 2010-Today 2011-Today 2012-Today 2012-Today 2013-Today 2013-Today 2013-Today 2013-Today 2015-Today 2016 2018

Engineering & Printing, Packaging, Content: Architecture, Fashion & Applied Designer- 17thBeacon C Company Company Infrastructure Policy Political 21stSpac C e Private Public Not for Education 17th C 21st C Manufacturing Studios, Agencies Animation/ Landscape & Textiles Maker Studios Change Formation Change Event Pro t & Consultancies Motion/Film Heritage 18th C Wool and Foundation of Guild Slave Trade Glass industry Bristol Brass Birth of John Wood the Queen Square, The Circus, Joseph Fry Shot TowerStothert W.D. & H.O. Bristol Floating John Macadam Mardon, Clarks opens Wool Bush Abolishment Great Western S.S. Great E.S. & A. Great Bath School of Clifton University Avonmouth G. B. Britton Packer's Douglas William Harbutt Bristol Guild of University of Bristol Fairey Aviation BBC opens up Rotork Bailey of First ight British Aircraft Arnolni M4 and Rolls Royce University of First ight of First Herman Bristol Cameron MulberryRenishaw Dyson White Paper Bath Spa BuroHappold Bristol Artspace Morph Bristol Craft Ferguson Mann Feilden Clegg Inmos Bristol Watershed, Defence Desktop Inmoss MoD contract Future PLC HP Laboratories Wapping Bath School of Bristol and Bath First ight of World Wide Cold War Changes to BBC Bristol Legible Creative Industries Spike Island British Aerospace West of Paintworks, Bristol MediaWest of Dyson School Pervasive Media Creative Bath Hamilton Bottle Yard Glove Factory Immediate Bristol Temple Local Enterprise Bristol Games Engine18 Shed,th C The Guild, Craneworks, Bristol Textile Development Bristol Arena Cloth trade of Merchants (later established Company formed Elder, arrival in Bath of Bristol The Royal Crescent, (of J.S. Fry & Sons) and Pitt Wills tobacco Harbour built appointed Son & Hall as tanners Hall House of slavery Railway Britain Robinson Exhibition Art + Design Suspension College, Bristol Docks opened and Sons Chocolate Engineering invents Applied Art Bristol receives Aeroplane Company in Bristol Bristol of Bristol Corporation gallery M5 built opens Bristol Bath receives its Concorde Glastonbury Miller Polytechnic Balloons on The College of Ltd (Now Spike Centre (Now Architects Bradley International Bristol spending Publishing Transputer out to the move to Bristol dispute Art and Design Science Park Airbus A320 Web ends procurement City concieved Mapping and Marconi mege to England Bristol England Design of Design Studio House, Studios Studio Media Quarter Partnerships Hub Bristol Bath Bath Quarter begins of North due to open Society of Merchant by Abraham Richard ‘Beau’ Nash Pulteney Bridge, starts making (later Imperial surveyor of launched Bridge founded boot and Company ‘Plasticine’ Royal Charter Company Brabazon and Westland founded branch Royal Charter Festival founded Regeneration of Higher Island) Centre Space) Balloon Fiesta private sector concept Document form BAE Systems Aerospace Forum Innovation Bristol regeneration and South 13th C 19th C Venturers) Darby and others and Ralph Allen Bath chocolate Tobacco) Bristol's roads completeted shoe works Helicopters British Industry Education suggested published Forum 13th C project 19th C Quays, Bath

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History Matters / The Timeline 100 KEY MOMENTS100 KEY IN MOMENTS THE DESIGN IN THEHIST DESIGNORY OF HISTBRISTOLORY ANDOF BRISTOL BATH AND BATH

DESIGN CATEGORIES DESIGN CATEGORIES CLASSIFICATIONS CLASSIFICATIONS STAKEHOLDERS STAKEHOLDERS

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13th C 13th C 13th C 13th C

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17th C 17th C 17th C 17th C

18th C 18th C 18th C 18th C

19th C 19th C 19th C 19th C

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21st C 21st C 21st C 21st C

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2626 27 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

History Matters / The Timeline 100 KEY MOMENTS100 KEY MOMENTSIN THE DESIGN IN THE HIST DESIGNORY OF HIST BRISTOLORY OF AND BRISTOL BATH AND BATH 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH

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17th C 17th C 17th C 17th C 17th C 17th C

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28 29 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

History Matters / The Timeline 100 KEY MOMENTS100 KEY IN MOMENTS THE DESIGN IN THE HIST DESIGNORY OF HIST BRISTOLORY OF AND BRISTOL BATH AND BATH 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH

DESIGN CATEGORIES DESIGN CATEGORIES CLASSIFICATIONS CLASSIFICATIONS STAKEHOLDERS STAKEHOLDERS DESIGN CATEGORIES CLASSIFICATIONS STAKEHOLDERS

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13th C 13th C 13th C 13th C 13th C 13th C

1697-1807 1720s-1920s 1697-18017072 1720s-1920 1704-10s 1701727-Tod2 ay 1704-101728-69 1727-Tod1759-2011ay 1728-691782-1994 1759-20111785-1989 1782-19941786-Today 1785-19891804 1786-Toda1815y 11804823-Today 11815825-Today 1823-Toda1828y 1825-Toda1831-Today y 18281833 1831-Toda1835-69y 18331843 1835-691844-1990 18431851 1844-19901852-Today 18511864 1852-Toda1876y 18641877 11876880-2001 11877881-2006 1880-20011882-1957 1697-1801881-20061897-19837 1720s-19201882-19571908-Todas y 1701897-19832 1909 1704-101908-Toda1910-196y 6 1727-Tod19091915-2001ay 1728-691910-1961934- To6 day 1759-20111915-20011945-Today 1782-19941934-1948-TodaToday y 1785-19891945-Toda1949y 1786-Toda1948-Toda1961-Today y y 180419491961-Today 11961-Toda8151961/62-Today y 1823-Toda1961-Toda1966-y Toy day 1825-Toda1961/62-Toda1966-y Today y 11966-828 To1969day 1831-Toda1966-1970-TodaToyday y 183319691970-2012 1835-691970-Toda1970-Today y 11970-20128431971-Today 1844-19901970-Toda1971-Today y 11971-Toda8511973-Tody ay 1852-Toda1971-Toda1974-y Toyday 11973-Tod864 197ay4 11974-8761975-TodToday ay 18771971976-Toda4 y 1880-20011975-Tod1976-Todaay y 1881-20061976-Toda1977y 1882-19571976-Toda1977-Today y 1897-198319771978-Today 1908-Toda1977-Toda1978-Today y y 19091978-Tod1978-89ay 1910-1961978-Toda1979-Tod6 y ay 1915-20011978-891982-Today 1934-1979-TodToday1985ay 1945-Toda1982-Today1985y 1948-Toda1985y1985 194919851985 1961-Toda19851985-Today y 1961-Toda19851985-Today y 1961/62-Toda1985-Toda1986y y 1966-1985-TodaTo1986-Todaday y y 1966-To1986day1986 19691986-Toda1987y 1970-Toda19861990-Todayy 1970-201219871991 1970-Toda1990-Todayy1994 1971-Toda1991y1996 1971-Toda1994y1998 1973-Tod19961998-ay Today 1974-To19981999-Todday ay 1971998-42002-TodToday ay 1975-Tod1999-Tod2004-Todaay ay y 1976-Toda2002-Tod2005-Today ay y 1976-Toda2004-Toda2006-Tody y ay 19772005-Toda2008y 1977-Toda2006-Tod2008-Tody ay ay 1978-Tod2008ay 1978-Toda2008-Tod2008-Tody ay ay 1978-892010-Today 1979-Tod2008-Tod2010-Todaay ay y 1982-Toda2010-Toda2011-Today y y 19852010-Toda2012-Today y 19852011-Toda2012-Today y 19852012-Toda2013-Tody ay 19852012-Toda2013-Tody ay 1985-Toda2013-Tod2013-Today ay y 1985-Toda2013-Tod2013-Tody ay ay 19862013-Toda2015-Tody ay 1986-Toda2013-Tod20y ay16 2015-Tod1986 20ay18 19872016 1990-Today2018 1991 1994 1996 1998 1998-Today 1999-Today 2002-Today 2004-Today 2005-Today 2006-Today 2008 2008-Today 2008-Today 2010-Today 2010-Today 2011-Today 2012-Today 2012-Today 2013-Today 2013-Today 2013-Today 2013-Today 2015-Today 2016 2018

17th C 17th C 17th C 17th C 17th C 17th C

18th C 18th C 18th C 18th C 18th C 18th C

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21st C 21st C 21st C 21st C 21st C 21st C

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UniversityLazarus ofJacobs region.Industrial Lazarus Jacobs Industrialresident ial reside1919nt withial its lead shot. 1919 with its lead shot. Tobacco andToba Firkin’,cco a live and UWE andco Firkin’,ntrol of a Bristol’slive and UWE controBristoll of Bristol’s and New in Bristol. Bristol and New in Bristol. the Wills the Wills University of region. Lazarus Jacobsand crafts Industrial andpart crafts of British resident1,000ial mph partregional of British specialist 1919 1,000 withinvent itsmp the h Dual regionallead shot specialist. inventbroken the Dual up for broken up for Tobacco and Firkin’,Corpo ara livetion (now and UWEproduction contCororlpo ofra Bristol’stion (now production Bristol andprinting New and in Bristol. printing and and computer the Wills and computer Hartbeat Hartbeat and crafts Paper on Industrypart. of British P1,000aper on mp Industryh r.egional specialistdesign and invent the Dual designdevelopment and inbroken upthe for MoD development in thein MoD Bristol. regional printing in Bristol. regionalin printing 2011 Corporationcivil (now airliner productionin 2011 cnewivil airliner markets and Film related printingnew marCity, andke gots andon to Film relcreatiatedve City, go on to creative and computer Hartbeat West Regional organisations West Regional Paperorganisation on Industry.s design and development in the MoD in Bristol.in Bath regional printing inCr Bathaneworks in 2011 civilCr airlineraneworks new markets and Film related City, go on to creative West Regional organisations in Bath Craneworks Bath, University The printing and Bath,manufactures University The printingRevolution and manufactures Revolutionsquares in squaresKeynsham in site A replacement Keynsham site A replacement music venue musicintere vestsnue and its interests Yandork. its Merges with York. Merges with (tobacco) and (tobacco) and Bath, University The printing and manufactures Revolution Aerospace in squares in Aerknowledgeospace in inKeynshamCyclone site bagless A reknowledgeplacement in Cyclonescrap bagless in 1953 . scrap in 1953. music BveAEnue Sy stems) intereBAEsts Sy andstems) its York.packaging Merges with packaging technology (tobacco) and technology Employees go onAe rospace in Employees go on knowledgemanufacturing in Cyclone bagless manufacturingcomputer scrap in 1953. computer Employees go on and packaging Employees go on and packaging BAE Systems) cost savings companies in packagingcdesignost savings way†nding companiesindustries in design way†nding industries technology Development and individuals Development Emploandye individualses go on manufacturing computer Employees go on and packaging Centre of Centre of cost savings companies in design way†nding industries Development and individuals Centre of of the West of packaging of Bristolthe West Blue of glass packaging Bristol Blue glass Europe closingEurope in 2011 tower, and the closing in 2011 tower, and the corporation, corpoAt theration, time the John Dickinson At the time the John Dickinson Fry (chocolate) Fry (chocolate) of the West of packaging Bristol Blue glass 1977, and a Europe 1977,TV and and a ­lm closingv inacuum 2011 cleanertoweTVr, and and the ­lm vacuumThe run cleanerway built The runway built and Sud Aviation coandrpo Sudration, Aviation At the timef actorythe John Dickinson factory Fry (chocolate) to play a key role1977, and a to play a key role TV and ­lm vacuum cleaner technologyThe runway built technology to play a key role companies to play a key role companies and Sud Aviation close proximity factorysystems for cities close proximity systems for cities Agency Agency to play a key role technology to play a key role companies Invention on Invention on close proximity systems for cities Agency Invention on England and the industry Englandfrom and the the1780s industry from the 1780s world's last, is world's last, is maintaining a key maintaininglargest a ship key in Stationery in largest ship in Stationery in families families England and the industry from the 1780s key component key coproductionmponent world'sproduction last, is for Brabazon is for Brabazon is (now Airbus) maintaining(now Airbus) a key largest ship in Stationery in families in the formationke y component in the formation production for Brabazon is in the formation in the formation (now Airbus) to the BBC incl. London, New to the BBC incl. London, New in the formation in the formation this site rejected this site rejected to the BBC incl. London, New this site rejected City of Bristol develops to City of Bristol develops to built in 1969 built in 1969 role in de­ning role thein de­ning world and 1966 to become the world and 1966 to become City of Bristol develops to of BAE Systems of BAE Systems built in 1969 later used by later used by under an Anglo- roleunder in de­ning an Anglo- the world and 1966 to become of the high-techof BAE Systems of the high-tech later used by of the high-tech of the high-tech under an Anglo- York and Moscow York and Moscow of the high-tech of the high-tech York and Moscow College. support cigarette College. support cigarette the region’s the­rst re irongion’s steamer DRG, one of the ­rst iron steamer DRG, one of the College. support cigarette in 1999 in 1999 Concorde Concorde French treaty theFrench region’s treaty ­rst iron steamer DRG, one of the cluster in the in 1999 cluster in the Concorde cluster in the cluster in the French treaty cluster in the cluster in the They also go on to and chocolate They also go on to and chocolate landscape landscapeto cross the world's largest to cross the world's largest They also go on to and chocolate landscape to cross the world's largest region region region region region region fund the Clifton manufacturers fund the Clifton manufacturers throughout the throughoutAtlantic theOcean stationery groups Atlantic Ocean stationery groups fund the Clifton manufacturers throughout the Atlantic Ocean stationery groups Suspension Suspension 19th century 19th century Suspension 19th century Bridge and the Bridge and the Bridge and the Great Western Great Western Great Western Railway Railway Railway

30 31 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

History Matters / The Timeline 100 KEY MOMENTS IN THE100 DESIGN KEY MOMENTS HISTORY IN OF THE BRISTOL DESIGN AND HIST BATORHY OF BRISTOL AND BATH 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH

DESIGN CATEGORIES DESIGN CATEGORIES CLASSIFICATIONS CLASSIFICATIONS STAKEHOLDERS STAKEHOLDERS DESIGN CATEGORIES CLASSIFICATIONS STAKEHOLDERS

PR PU NP E PR PU NP E PR PU NP E Engineering & Printing, Packaging, Content: Architecture, EngineeringFashion & & Printing,Applied Packaging, Designer- Content:Beacon ArchitectuCompanre, y FashionC &ompany Applied Designer-Infrastructure BeaconPolicy CompanPyolitical CompanSpacy e InfrastructuPrirevate Policy Public PoliticalNot for SpacEducatione Private Public Not for Education Engineering & Printing, Packaging, Content: Architecture, Fashion & Applied Designer- Beacon Company Company Infrastructure Policy Political Space Private Public Not for Education Manufacturing Studios, Agencies Animation/ Landscape & ManufacturingTextiles Studios, MaAgenciesker Studios Animation/ LandscapeChange & TextileFsormation Maker Studios Change ChangeEvent Formation Change Event Pro t Pro t Manufacturing Studios, Agencies Animation/ Landscape & Textiles Maker Studios Change Formation Change Event Pro t & Consultancies Motion/Film Heritage & Consultancies Motion/Film Heritage & Consultancies Motion/Film Heritage

13th C 13th C 13th C 13th C 13th C 13th C

1697-1807 1720s-1920s 1702 1704-10 1697-1801727-Tod7 ay 1720s-19201728-69s 17021759-2011 1704-101782-1994 1727-Tod1785-1989ay 1728-691786-Toda y 1759-20111804 1782-19941815 1785-19891823-Today 1786-Toda1825-Today y 1804 1828 18151831-Today 1823-Toda1y833 1825-Toda1835-69y 1828 1843 1831-Toda1844-1990y 1833 1851 1835-691852-Today 1843 1864 1844-19901876 1851 1877 1852-Toda1880-2001y 18641881-2006 18761882-1957 18771897-1983 1880-20011908-Today 1881-20061909 1882-19571910-1966 1897-19831915-2001 1908-Toda1934-y Today 19091945-Today 1910-1961948-Toda6 y 1915-20011949 1934-To1961-Todaday y 1945-Toda1961-Today y 1948-Toda1961/62-Today y 19491966-Today 1961-Toda1966-y Today1697-1801961-Toda7 1969y 1720s-19201961/62-Toda1970-Todas y y 1701966-2 To1970-2012day 1704-101966-To1970-Todaday y1727-Tod1969ay1971-Today 1728-691970-Toda 1971-Today y1759-20111970-20121973-Today1782-19941970-Toda1974-y Today1785-19891971-Toda197y 4 1786-Toda1971-Today1975-Tody ay 11973-Tod804 1976-Todaay y 11974-815 To1976-Todaday y1823-Toda197y4 1977 1825-Toda1975-Tody1977-Todaay y 11976-Toda828 1978-Tody ay1831-Toda1976-Today1978-Today y 183319771978-89 1835-691977-Toda1979-Tody ay 11978-Tod843 1982-Todaay y1844-19901978-Toda1985y 18511978-891985 1852-Toda1979-Tody ay1985 11982-Toda864 1985y 187619851985-Today 187719851985-Today1880-20011985 1986 1881-200619851986-Today1882-19571985-Toda1986y 1897-19831985-Toda1987y 1908-Toda1986y1990-Today 19091986-Toda1991y 1910-19619866 1994 1915-20011987 1996 1934-1990-TodayToday 1998 1945-Toda1991y1998-Today1948-Toda1994y1999-Today 194919962002-Today1961-Toda1998y2004-Today1961-Toda1998-Toy2005-Todaday 1961/62-Today 1999-Tod2006-Todyay ay1966-2002-TodToday ay2008 1966-2004-TodaToday2008-Tody ay 19692005-Today 1970-Toda2006-Tody2008-Today ay1970-201220082010-Today1970-Toda2008-Tody2010-Todaay y1971-Today2011-Today1971-Toda2008-Tody2012-Todaay y1973-Tod2010-Todaay2012-Today y1974-2010-TodaToday2013-Tody ay 1972011-Toda4 2013-Tody ay1975-Tod2012-Todaay2013-Today y1976-Toda2012-Toda2y013-Tody ay 1976-Toda2013-Tod2015-Tody ay ay 19772013-Today2016 1977-Toda2013-Today 20y 18 1978-Tod2013-Today ay 1978-Toda2015-Tody ay 1978-892016 1979-Tod20ay18 1982-Today 1985 1985 1985 1985 1985-Today 1985-Today 1986 1986-Today 1986 1987 1990-Today 1991 1994 1996 1998 1998-Today 1999-Today 2002-Today 2004-Today 2005-Today 2006-Today 2008 2008-Today 2008-Today 2010-Today 2010-Today 2011-Today 2012-Today 2012-Today 2013-Today 2013-Today 2013-Today 2013-Today 2015-Today 2016 2018

17th C 17th C 17th C 17th C 17th C 17th C

18th C 18th C 18th C 18th C 18th C 18th C

19th C 19th C 19th C 19th C 19th C 19th C

20th C 20th C 20th C 20th C 20th C 20th C

21st C 21st C 21st C 21st C 21st C 21st C

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Dryfoot Chocolate, supportWW1 for the Douglas Company Dryfootphilosophy of Chocolate, WW1 Douglasof a regional CompanyFairey Delta, a philosophythe BBC of and the family acquire of a regionalare the UK's Faireythe Delta, largest a airlinerthe BBC and the family acquire are the UK's the largest airlinerestablish a school Trade' bringsprotot ypes17th are Ce nturFestivaly, the leadsmethod to allows Georgian Bath resideprototntmanufactureryialpes are ofFestival leads to & Sons is oneformer of Rollsshot tower. builtmanufacturer the White35-ton Paper of leads formerengineered Rolls introduces his companyWhite Paper hasby Aar leadsdman,Clarks' footware of theengineered BristolFerguson, †rstwar ehouse roneno vatingrece byive Aar cvastompandman, y,initially BrunelFe asrguson, a luxury †rst printingreno andvathighing le vel ofc ompany,initially the †rst general engineeringsupport and high for le thevel of incentive theDryfoot †rsttrade general unions, Chocolaengineering te, and WW1 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regional mass-production squarede inv thehoteloped UKair balloons. a regional Bristol's largestRoyce empl oyBuiltees, by William Fairbairnhot air St toballoons.eam gove rnment Royce emplLoyondon'sees, method of road ovtoer g 5,000oveMorphrnment appears design team are ByzantineLondon'selected MaBristolyor ’s FloatingLondon's SouthcompensationMorph appearsfunded for by passengerelected ship Mayo r packagingLondon'sg ovSouthernment funded by purpose defence-relUniversityated government comes encouragesmanufactures HP purposealongside thelat riseerde becomesf ence-rel ated supplies 70,00companies toproducesencourwingsages HPdesignedWilliamalongside Morris. the rise lead to changesspecialisimc ompaniesco innt rtoactors,fo wingsrerunnere designedx-employ eesdev ofelopment & Sport of ’s †rstleadRotork. to changes longestcontractors, ofe x-emplits day,associationoy is ees of for & Sport’s †rst promotes connect regionalassociation Bath fo designr co-workingde velopedpromonetworktes fora c 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Watt, inventor ofoutside Crane London for Bristol employers. Watt, invebuilding,ntor of laterCrane foremplo Bristolye es. based at the architectural building,Harbour later . emplolossye ofes. 'property' based at the architecturalfor the Harbourcompan. y, at itsloss of 'property' for the companfromy, at the its Society Tuf military and Elizabeth Shawfrom themo Societytorcycles to Plasticine Tuf militaryA meeting and placeElizabe th Shaw motorcycaerospace.les to Plasticineto Concorde, A meetingthe place Natural Former employee,aerospace. established to Concorde,deemed too largethe Natural Former employee, established deemed too large becomes the natural resourcines Bristol. becomes wespecialismll inof iron pots. outsidein London Bristol.Now located specialism in employenowrs. worthWa ovtt,er inventor of CraneNow for Bristol locinatevestmen d t now woMilleniumrth over Dome,building, later emploinvyeestmenalongsidees. t Tobasedny at the architecturalMillenium ofDome, Bristo l Harbour.Bank Centlossre alongsideof 'property'go vToernment ny forof the Bris tol companBanky,de at Cefence itsnt re spending go vernment microprocessor, is design companiesfromde thefence Society spending to locate Titsufmicroprocessor, military andof desktop is Elizabe designth companiesShaw motorcyclesthe to region, thPlasticinee to locainte Bristol, its Ahas meeting of desktop place within aerospace.aerospace.the region,resulting the in theto Concorde, in Bristol,Bristol has City Councilthe Natural ever attemptFormer withinto emplo aerospace.yee, establishedresulting in the deemedBristol too Cityae largero Councilspa ce andev er attempt to Bristol's media designers aerospaschoolce and collapse laboratory setin B Bristol.ristolcreative,'s media tech specialism and designers in school collapseCity Council laboratory set Nowcreative, locate techd and now woCityrth Council over and academicsinv estmentech,t creative companiesMillenium Dome,creative studio,and academics alongsidetech, creativTony£1 billione companiesFeilden Cleggofcreative Bristol studio, Bank Centre government£1 billion Feilden Clegg defence spending microprocessor, is design companies to locate its of desktop the region, the in Bristol, has within aerospace. resulting in the Bristol City Council ever attempt to aerospace and Bristol's media designers school collapse laboratory set creative, tech and City Council and academics tech, creative companies creative studio, £1 billion Feilden Clegg University of (tobacco, cocoa established in Darby was a key University of (tobaccoand, co stillcoa one of established in Darby waIt mers a kegesy with the process to and stillDocks one ofin 1876 It merges with the processknown toas tarmacDocks Linate 1876r acquired original site in style. known asNow tarmac home to Later acquired(slave s). original site in style.trans-Atlantic Nowheight home the to second (slaves). trans-Atlantic height theof second Merchant safety foot ware of Merchantthe military until 1983 safetyand foot sh waowrecase for the militaryBAC go on to untilbecomes 1983 the ­rstand showHistcaseory for Unit in James Dyson BAC go oncar toav an becomesand the expensiv ­rst e forHist ory Unit in James Dyson caravan and expensive for University of (tobacco, cocoaBuilt byestablisheddesign in for fesitvalDarby wa s a key and stillBuilt onein by ofthe formerdesign for fesitval It merges with£1.3 billionthe process to Docksin inthe 1876 formerin regional £1.3 billionnow theknown O2 as tarmac Later inacquired regionalHart on BBC originalTV's site in style.now the O2 Now home to Hart(slave ons).in BBCvestment TV's as a trans-Atlantic height thebene†ts second regionalinv estment as a a pioneering and set up in closeofbene†ts Merchant regional Europeansaf eaty pioneering footpublishing, ware and markset up in close the militaryScience Parkuntil European 1983been the world'sand publishing,sh owcase for mark Regional BACScience go deonv toelopment Park becomes ofbeen a theafter ­rstworld's the su ccHistesso ry Unitde†ne, in map andJames R Dysonegional decarvelopmentavan of aand afterexpensiv the esu deforccfeess nce de†ne, map and industries defence up with HP LabsBuilt industries by culturaldesign for fesitval up with HP Labs in the formercultural £1.3 billion create and studyin regional and low carbon now the educO2 ation andcrea te and study Hartand on BBC lowEn TV'stcarbonerprise Area. 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Bristol, and sugar) to the Bristol. gure in the Bristol, and sugar)the to largestthe Bristol. gure Cadburyin the 's in manufacture the largest Cadbury's in manufacture by Imperial Somerset Now ‘The Fleece the Arnol­ni by ImperialThey remain in Somerset Now ‘Theservice Fleece between the Arnol­nilargest companyThey remain in service between largest Vecompanynturers and Venturers and regional arts become a major aircraft to exceedregional1957 arts leads to goes on to becomemanufacturer a major aircraftr toegular exceed use and1957 leads to goes on to manufacturer regular use and Bristol, and sugar) Britishto the AircraftBristol and. staged ev gureent in the theBritish largest AircraftR obinson's and staged event Cadbury's in manufacture Robinson'smicroelectronics bymicroelectronics ImperialTake Hart andSomerset Now ‘The Fleece the Arnol­ni TheyTa remainke Hartresult in and of White service between largest companyaerospac e result of White highly inˆuential proximity Vetonturaerospacers and e research centrehighly inˆuentiala decline of proximity to †nally opensresearchfastest centre sellingregional a decline arts of companies becomeseek†nally acluster major open ofs TVaircraft andfastest to ofex cBristolsellingeed Legible1957 leadsvalue to the UKgoes’sc ompanies on to seek manufacturercluster of TV and regularof Bristol use and cLegibleompanies value the UK’s companies and the SouthBritish Aircraftbusinesses, and staged event and the South Robinson'sbusinesses, gamesmicroelectronicsbusinesse s exhibition space games Take bHartusinesseB andid to sestablish BuroHappolde xhibition space resultBid of to White establish BuroHappold aerospace highly inˆuential proximity to research centre a decline of †nally opens fastest selling companies seek cluster of TV and of Bristol Legible value the UK’s companies and the South businesses, games businesses exhibition space Bid to establish BuroHappold University of region. Lazarus Jacobs Industrial University of region.residential Lazarus Jacobs Industrial1919 with its lead shot. residential 1919 with its lead shot. Tobacco and Firkin’, a live and UWE Tobacontccorol of Bristol’s and Firkin’,Bristol a live and New and UWEin Bristol. control of Bristol’s Bristol and New in Bristol.the Wills the Wills and crafts part of British 1,000 mph andregional crafts specialist invent the Dualpart of British 1,000broken mph up forregional specialist invent the Dual broken up for University of region.Corporation (nowLazarus Jacobsproduction Industrial rCoesiderporanttionialprinting (now and production 1919 with its lead shot. printingand and com puter Tandoba ccocomputerHartbea t and Firkin’, a live and UWE control ofHartbea PBristol’saper ont Industry. Bristol and New in Bristol.design andP aper on Industry. development in the MoD thed esignWills and in Bristol. developmentregional in printing the MoD in 2011 in Bristol.civil airlinerandregional crafts printing new marketspart and of inBritish 2011Film related1,000 civil mp airlinerChity, go onregional to specialistcreati vein venewnt the mar Dualkets and Film related brokenCity, up go for on to creative West RegCoionalrpo rationorganisation (now productions West Regional printingorganisation and s and computer in Bath HartbeatCraneworks in Bath Paper onCranew Industryorks. design and development in the MoD in Bristol. regional printing in 2011 civil airliner new markets and Film related City, go on to creative West Regional organisations in Bath Craneworks Bath, University The printing and manufactures Revolution Bath, University The printingsquares and in manufactures RevolutionKeynsham site A replacement squares in Keynsham site A replacement music venue interests and its music venueYork. Merges withinterests and its York. Merges(toba withcco) and (tobacco) and Aerospace in knowledge in Cyclone bagless Aerospace in scrap in 1953. knowledge in Cyclone bagless scrap in 1953. Bath, University The printingB AEand Sy stems)manufactures Revolution squaresBAE Sy instems)packaging Keynsham site A replacement packagingtechnology technology music venue interests andEmplo itsye es go on York. Merges withmanufacturingEmployees go on computer (tobamanufacturingcco) and Employees go on computerand packaging Employees go on and packaging cost savingsAerospacec ompaniesin in design way†ndingknowledge industriesin Cy clonecost bagless savings companies in scrapdesign in 1953way†nding. industries DevelopmentBAE Systems)and individuals Development packagingand individuals technology Centre of EmployeCeesnt gore onof manufacturing computer Employees go on and packaging cost savings companies in design way†nding industries Development and individuals Centre of of the West of packaging Bristol Blue glass of the West of packagingEurope Bristol Blue glass closing in 2011 tower, and the Europe closing in 2011 tower, and the corporation, At the time the John Dickinson corporation, At the time the John DickinsonFry (chocol ate) Fry (chocolate) 1977, and a TV and ­lm vacuum cleaner 1977, and a The runway built TV and ­lm vacuum cleaner The runway built of the West of packagingand Sud AviationBristol Blue glass andEurope Sud Aviationfactory closing in 2011 tower, and the factory corporation,to play a key role At the time the John Dickinson to play a key role technology Fry (chocolate) to play a key role technologycompanies to play a key role companies 1977, andclose a proximity systems for citiesTV and ­lm vacuum cleaner close proximity Thes runystemsway forbuilt cities Agencandy Sud Aviation Agency factory Invention on to playIn ave kentyion role on technology to play a key role companies close proximity systems for cities Agency Invention on England and the industry from the 1780s England and the industry from the 1780s world's last, is world's last, is maintaining a key largest ship in Stationery inmaintaining a key largest ship in Stationeryfamilie in s families key component production key component for Brabazon is production for Brabazon is England and the industry(now Airbus)from the 1780s (now Airbus) world's last, is maintainingin a the key formation largest ship in Stationery in in the formation families in the formation in the formation key componento tthe BBC incl. London, Newproduction to the BBC forincl. Brabazon London, is New (now Airbus) this site rejected in thethis formation site rejected in the formation to the BBC incl. London, New this site rejected City of Bristol develops to City of Bristol develops to built in 1969 built in 1969 role in de­ning the world and 1966 to becomero le in de­ning the world and 1966 to become of BAE Systems of BAE Systems later used by later used by City of Bristol developsunder to an Anglo- under an Anglo- built in 1969 role in de­ningof the high-tech the world and 1966 to become of the high-tech of the high-tech of the high-tech of BAE Systems York and Moscow latYerork used and byMosc ow under an Anglo- of the high-tech of the high-tech York and Moscow College. support cigarette College. support cigarette the region’s ­rst iron steamer DRG, one of the the region’s ­rst iron steamer DRG, one of the in 1999 in 1999 Concorde Concorde College. support cigarFrenchette treaty French treaty the region’scluster in the ­rst iron steamer DRG, one of the cluster in the cluster in the cluster in the in 1999 Concorde French treaty cluster in the cluster in the They also go on to and chocolate They also go on to and chocolate landscape to cross the world's largest landscape to cross the world's largest They also go on to and chocolate landscape region to cross the world's largest region region region region region fund the Clifton manufacturers fund the Clifton manufacturers throughout the Atlantic Ocean stationery groupsthroughout the Atlantic Ocean stationery groups fund the Clifton manufacturers throughout the Atlantic Ocean stationery groups Suspension Suspension 19th century 19th century Suspension 19th century Bridge and the Bridge and the Bridge and the Great Western Great Western Great Western Railway Railway Railway

32 33 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

History Matters / The Timeline 100 KEY MOMENTS100 KEY IN MOMENTS THE DESIGN IN THE HIST DESIGNORY OF HIST BRISTOLORY OF AND BRISTOL BATH AND BATH 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH

DESIGN CATEGORIES DESIGN CATEGORIES CLASSIFICATIONS CLASSIFICATIONS STAKEHOLDERS STAKEHOLDERS DESIGN CATEGORIES CLASSIFICATIONS STAKEHOLDERS

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13th C 13th C 13th C 13th C 13th C 13th C

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34 35 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

History Matters / The Timeline 100 KEY MOMENTS100 KEY IN MOMENTS THE DESIGN IN THE HIST DESIGNORY OF HIST BRISTOLORY OF AND BRISTOL BATH AND BATH 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH

DESIGN CATEGORIES DESIGN CATEGORIES CLASSIFICATIONS CLASSIFICATIONS STAKEHOLDERS STAKEHOLDERS DESIGN CATEGORIES CLASSIFICATIONS STAKEHOLDERS

PR PU PR NP PU E NP E PR PU NP E Engineering & Printing, Packaging, EngineeringContent: & Printing,Archit Packaging,ecture, ContFashionent: & ArchitAppliedectu Designer-re, FashionBeacon & Applied Designer-Company BeaconCompany CompanInfrastructuy re CompanPolicyy InfrastructuPoliticalre PolicySpace PoliticalPrivate SpacPublice PrivatNote for PublicEducation Not for Education Engineering & Printing, Packaging, Content: Architecture, Fashion & Applied Designer- Beacon Company Company Infrastructure Policy Political Space Private Public Not for Education Manufacturing Studios, Agencies ManufacturingAnimation/ Studios,Landscape Agencies & AnimatTeion/xtiles LandscapeMaker Studios & Textiles Maker StudiosChange Formation Change FormationChange Event Change Event Pro t Pro t Manufacturing Studios, Agencies Animation/ Landscape & Textiles Maker Studios Change Formation Change Event Pro t & Consultancies Motion/Film & ConsultancieHeritages Motion/Film Heritage & Consultancies Motion/Film Heritage

13th C 13th C 13th C 13th C 13th C 13th C

1697-1807 1720s-1920s 1697-18017072 1720s-1920 1704-10s 1701727-Tod2 ay 1704-101728-69 1727-Tod1759-2011ay 1728-691782-1994 1759-20111785-1989 1782-19941786-Today 1785-19891804 1786-Toda1815y 11804823-Today 11815825-Today 1823-Toda1828y 1825-Toda1831-Today y 18281833 1831-Toda1835-69y 18331843 1835-691844-1990 18431851 1844-19901852-Today 18511864 1852-Toda1876y 18641877 18761880-2001 18771881-2006 1880-20011882-1957 1881-20061897-1983 1882-19571908-Today 1897-19831909 1908-Toda1910-196y 6 19091915-2001 1910-1961934-To6 day 1915-20011945-Today 1934-1948-TodaToday y 1945-Toda1949y 1948-Toda1961-Today y 19491961-Today 1961-Toda1961/62-Today y 1961-Toda1966-Toy day 1961/62-Toda1966-Toyday 1966-To1969day 1966-1970-TodaToday y 19691970-2012 1970-Toda1970-Today y 1970-20121971-Today 1970-Toda1971-Today y 1971-Toda1973-Tody ay 1971-Toda1974-Toy day 1973-Tod197ay4 1974-1975-TodToday ay 1971976-Toda4 y 1975-Tod1976-Todaay y 1976-Toda1977y 1976-Toda1977-Today y 19771978-Today 1977-Toda1978-Today y 1978-Tod1978-89ay 1978-Toda1979-Tody ay 1978-891982-Today 1979-Tod1985ay 1982-Toda1985y 19851985 19851985 19851985-Today 19851985-Today 1985-Toda1986y 1697-1801985-Toda1986-Toda7 y y 1720s-19201986s1986 1701986-Toda2 1987y 1704-1019861990-Today 1727-Tod1987ay 1991 1728-691990-Today 1994 1759-201119911996 1782-199419941998 1785-198919961998-Today 1786-Toda19981999-Tody ay 11998-8042002-TodToday ay 11999-Tod8152004-Todaay y 1823-Toda2002-Tod2005-Today ay y 1825-Toda2004-Toda2006-Tody y ay 12005-Toda828 2008y 1831-Toda2006-Tod2008-Tody ay ay 18332008 1835-692008-Tod2008-Today ay 18432010-Today 1844-19902008-Tod2010-Todaay y 12010-Toda8512011-Today y 1852-Toda2010-Toda2012-Today y y 12011-Toda8642012-Today y 12012-Toda8762013-Tody ay 12012-Toda8772013-Tody ay 1880-20012013-Tod2013-Todaay y 1881-20062013-Tod2013-Today ay 1882-19572013-Toda2015-Tody ay 1897-19832013-Tod20ay16 1908-Toda2015-Tody20ay18 19092016 1910-19620186 1915-2001 1934-Today 1945-Today 1948-Today 1949 1961-Today 1961-Today 1961/62-Today 1966-Today 1966-Today 1969 1970-Today 1970-2012 1970-Today 1971-Today 1971-Today 1973-Today 1974-Today 1974 1975-Today 1976-Today 1976-Today 1977 1977-Today 1978-Today 1978-Today 1978-89 1979-Today 1982-Today 1985 1985 1985 1985 1985-Today 1985-Today 1986 1986-Today 1986 1987 1990-Today 1991 1994 1996 1998 1998-Today 1999-Today 2002-Today 2004-Today 2005-Today 2006-Today 2008 2008-Today 2008-Today 2010-Today 2010-Today 2011-Today 2012-Today 2012-Today 2013-Today 2013-Today 2013-Today 2013-Today 2015-Today 2016 2018

17th C 17th C 17th C 17th C 17th C 17th C

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36 37 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

History Matters / The Timeline 100 KEY MOMENTS100 KEY INMOMENTS THE DESIGN IN THE HIST DESIGNORY OF HIST BRISTOLORY OF AND BRISTOL BATH AND BATH 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH

DESIGN CATEGORIES DESIGN CATEGORIES CLASSIFICATIONS CLASSIFICATIONS STAKEHOLDERS STAKEHOLDERS DESIGN CATEGORIES CLASSIFICATIONS STAKEHOLDERS

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1697-1807 1720s-1920s 1697-1801707 2 1720s-1920 1704-10s 1701727-Tod2 ay 1704-101728-69 1727-Tod1759-2011ay 1728-691782-1994 1759-20111785-1989 1782-19941786-Today 1785-19891804 1786-Toda1815y 18041823-Today 18151825-Today 1823-Toda1828y 1825-Toda1831-Today y 18281833 1831-Toda1835-69y 18331843 1835-691844-1990 1843 1851 1844-19901852-Today 18511864 1852-Toda1876y 18641877 18761880-2001 18771881-2006 1880-20011882-1957 1881-20061897-1983 1882-19571908-Today 1897-19831909 1908-Toda1910-196y 6 19091915-2001 1910-1961934-6Today 1915-20011945-Today 1934-1948-TodaToday y 1945-Toda1949y 1948-Toda1961-Today y 19491961-Today 1961-Toda1961/62-Today y 1961-Toda1966-yToday 1961/62-Toda1966-Toyday 1966-Toda1969y 1966-1970-TodaToday y 19691970-2012 1970-Toda1970-Today y 1970-20121971-Today 1970-Toda1971-Today y 1971-Toda1973-Tody ay 1971-Toda1974-yToday 1973-Tod197ay 4 1974-1975-TodToday ay 1971976-Toda4 y 1975-Tod1976-Todaay y 1976-Toda1977y 1976-Toda1977-Today y 19771978-Today 1977-Toda1978-Today y 1978-Tod1978-89ay 1978-Toda1979-Tody ay 1978-891982-Today 1979-Tod1985ay 1982-Toda1985y 19851985 19851985 19851985-Today 19851985-Today 1985-Toda1986y 1985-Toda1986-Today y 19861986 1986-Toda1987y 19861990-Today 19871991 1990-Today1994 19911996 19941998 19961998-Today 19981999-Today 1998-2To002-Todday ay 1999-Tod2004-Todaay y 2002-Tod2005-Todaay y 2004-Toda2006-Tody ay 1697-1802005-Toda7 2008y 1720s-19202006-Tod2008-Tods ay ay 17020082 1704-102008-Tod2008-Today ay 1727-Tod2010-Todaay y 1728-692008-Tod2010-Toda ay y 1759-20112010-Toda2011-Today y 1782-19942010-Toda2012-Today y 1785-19892011-Toda2012-Today y 1786-Toda2012-Toda2013-Tody y ay 2012-Toda18042013-Tody ay 2013-Tod18152013-Todaay y 1823-Toda2013-Tod2013-Tody ay ay 1825-Toda2013-Toda2015-Tody y ay 21013-Tod828 20ay16 1831-Toda2015-Tody20ay18 18332016 1835-692018 1843 1844-1990 1851 1852-Today 1864 1876 1877 1880-2001 1881-2006 1882-1957 1897-1983 1908-Today 1909 1910-1966 1915-2001 1934-Today 1945-Today 1948-Today 1949 1961-Today 1961-Today 1961/62-Today 1966-Today 1966-Today 1969 1970-Today 1970-2012 1970-Today 1971-Today 1971-Today 1973-Today 1974-Today 1974 1975-Today 1976-Today 1976-Today 1977 1977-Today 1978-Today 1978-Today 1978-89 1979-Today 1982-Today 1985 1985 1985 1985 1985-Today 1985-Today 1986 1986-Today 1986 1987 1990-Today 1991 1994 1996 1998 1998-Today 1999-Today 2002-Today 2004-Today 2005-Today 2006-Today 2008 2008-Today 2008-Today 2010-Today 2010-Today 2011-Today 2012-Today 2012-Today 2013-Today 2013-Today 2013-Today 2013-Today 2015-Today 2016 2018

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38 39 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

History Matters / The Timeline 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH 100 KEY MOMENTS IN THE DESIGN HISTORY OF BRISTOL AND BATH

DESIGN CATEGORIES CLASSIFICATIONS STAKEHOLDERS DESIGN CATEGORIES CLASSIFICATIONS STAKEHOLDERS

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Bristol, and sugar) to the Bristol. gure in the the largest Cadbury's in manufacture by Imperial Somerset Now ‘The Fleece the Arnol­ni They remain in service between largest company Venturers and regional arts become a major aircraft to exceed 1957 leads to goes on to manufacturer regular use and British Aircraft and staged event Robinson's microelectronics Take Hart and result of White aerospace highly inˆuential proximity to research centre a decline of †nally opens fastest selling companies seek cluster of TV and of Bristol Legible value the UK’s companies and the South businesses, games businesses exhibition space Bristol, and sugar)Bid toto the establish BristolBuroHappold. gure in the the largest Cadbury's in manufacture by Imperial Somerset Now ‘The Fleece the Arnol­ni They remain in service between largest company Venturers and regional arts become a major aircraft to exceed 1957 leads to goes on to manufacturer regular use and British Aircraft and staged event Robinson's microelectronics Take Hart and result of White aerospace highly inˆuential proximity to research centre a decline of †nally opens fastest selling companies seek cluster of TV and of Bristol Legible value the UK’s companies and the South businesses, games businesses exhibition space Bid to establish BuroHappold University of region. 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40 41 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

42 43 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Measuring the Value of Design

Statistical studies of the importance of design and design firms to The statistical methodology the UK economy invariably suggest that firms in the design sector Here we draw on a well-trodden path in the economics literature that are, on average, more productive than the average firm. They also applies regression analyses in an attempt to identify and quantify the report that designers have been found to be more productive importance of various factors that shape and enhance productivity. We draw on data from the Annual Business Survey (ABS) that is than the average UK worker, and are crucial for enhancing the collected by the UK’s Office for National Statistics and made accessible value that a firm creates. For instance, the Design Council (2015) for analysis via the UK’s Secure Data Service. The ABS is a data set that contains many useful firm-level indicators of size, productivity and suggests that the design economy was worth £71.7bn in 2013, method of production. The standard way of measuring productivity at with close to 75,000 design firms operating in the UK economy the firm-level is to use Gross Value Added (GVA), which represents the income to businesses less the cost of goods and services consumed in (an increase of 51% since 2010). Designers have been found to its creation. An alternative measure of how productive a company is be 41 percent more productive than the average UK worker, with can be obtained from examining turnover figures. their productivity increasing by 9.5 percent between 2009 and We merged into the ABS data set information on firm-level capital 2013, and decisively with designers working outside of the design stock estimates (Harris, 2015), district-level population density and local labour force quality figures (Neighbourhood Statistics, 2015) and industry being the most productive type of designer. existing SIC code indicators of the design sector1. After this merging process was complete we were able to analyse productivity data for We set out to better understand the importance of design to the Bristol 181,916 plants and turnover data for 1,652,656 plants across England and Bath region using regression analyses. Our intention was to identify and Wales. and quantify the importance of various factors that shape and enhance productivity in the region. The design sector is defined according to a specific set of SIC codes, as shown in the appendix. Out of the 181,916 plants in the regression, We built on the Design Council’s (2015) estimates in order to better 10,094 (5.55%) are design related. There are 251 design-related understand the importance of design to this region. An accurate plants in the Bristol and Bath region, which represents about 1 in 40 estimation of the relative influence of a sector on a local economy of the entire design-related plants in England and Wales as listed in should take into consideration the context and local attributes of the the dataset. If we use the augmented list of design-related SIC codes region – i.e. those factors that are important in valuing productivity or produced by the Design Council then the number of design-related turnover but which can lie outside of a firm’s influence. Our estimates plants in the regressions increase to 10,339 (5.68%), and under this control for additional issues, such as agglomeration and skills of the definition of design there exists 258 design-related plants in the local labour force, which are vital because of the spillovers from other Bristol and Bath region as listed in this data set. sectors and between workers that enhance value and knowledge exchange. Estimates should also take into account the scale of In order to identify the stability of the results we estimate several production, which can be reflected in the number of workers, stability checks. First, the 2012 estimates, which represent the most ownership characteristics and the amount of capital. up-to-date data available for this analysis, are re-estimated using the oldest ABS sweep of data corresponding to 2009. Second, the We reveal that small design firms are significantly more productive than abundance of firms with more than one plant will potentially skew the average small firm in England and Wales and that small design firms the results due to greater scale economies, so we re-estimate the in the Bristol and Bath region are more productive than small design firms models again using only single-plant firms. elsewhere in England and Wales. The evidence for larger firms – i.e. those with more than one plant – is less clear. We also find evidence that design firms have lower turnover than the average firm, but their turnover is significantly higher if they are based in the Bristol and Bath region.

¹ www.designcouncil.org.uk/sites/default/ files/asset/document/value-design.pdf

44 45 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Measuring the Value of Design

As is common in the productivity literature, we estimate a Cobb- TURNOVER Douglass production function to reveal the relative importance Our analysis also seeks to identify if design firms have greater of capital stocks and labour supply for the production process and turnover than the average firm. Table A4 shows that design firms then augment the underlying model to include variables of interest. had, on average, 31% lower turnover than the average firm in 2012 in Of particular relevance here are three variables: i) one indicating England and Wales. Design firms in the Bristol and Bath region, however, whether the plant operates in the design sector, ii) one indicating had on average a 5% greater turnover than the average firm. This figure whether the plant operates in the Bristol and Bath region and iii) one slipped back a little from the corresponding 2009 figure when design indicating whether the plant operates in the design sector and in the firms had 5% less turnover but had 7% greater turnover if they were Bristol and Bath region. A full set of variable descriptions are accessible located in the Bristol and Bath region. from table A in the appendix. Again, these estimates may be affected by the presence of particularly PRODUCTIVITY large companies with excessively beneficial economies of scale. Our analysis seeks to identify if design firms are more productive than A re-estimate of the model based only on a sample of single-plant firms the average firm. Table A2 in the appendix shows that design firms reveals that design firms were average according to this measure, but were, on average, 23 % less productive than the average firm in 2012 had 3% greater turnover than the average single-plant firm if they are whereas design firms in the Bristol and Bath region were only 12% less located in the Bristol and Bath region. This has changed since 2009, productive than the average firm. This has changed since 2009 when when firms in the Bristol and Bath area had 12 % greater turnover than such firms were 43 % less productive in the non-Bristol and Bath area the average single-plant firm. Qualitatively similar results are obtained and 29 % less productive in the Bristol and Bath region. This relative when we use the augmented definition of design firms presented by improvement in design firms’ productivity over time and why their the Design Councils, with the corresponding coefficient estimates productivity was so much better in the Bristol and Bath region than presented in table A5. elsewhere in England and Wales is worthy of further investigation.

These estimates may be affected by the presence of particularly Limitations of the data large companies in the baseline category with excessively beneficial economies of scale. A re-estimate of the models based only on a sample Hiding behind these estimates, both the Design Council’s and our own, of single-plant firms reveals that design firms were 11% more productive are a number of key modelling assumptions. For instance, a best-guess than the average firm in 2012, and were 14 % more productive than had to be made concerning which firms are and are not operating in the average simple-plant firm if they are located in the Bristol and Bath design. Although this best-guess is based on informed judgement, region. This changed markedly since 2009, when firms in the Bristol and the only real way to identify if a firm is driven by design or is heavily Bath area were 3 % less productive than the average single plant firm. influenced by design is to ask them. Although the inclusion of design firms Qualitatively similar results are obtained when we use the augmented in some Standard Industrial Classifications (SIC) codes may be perfectly definition of design firms presented by the Design Councils, and the acceptable – such as the ‘manufacture of games and toys’ – the relative corresponding coefficient estimates presented in table A3. To summarise, importance of the inclusion of firms in other SIC codes is, perhaps, more there is evidence here that design firms, which tend to be smaller than questionable – such as the ‘wholesale of household goods.’ the average, may be significantly more productive than the average small firm, and that design firms in the Bristol and Bath area were more In addition to choosing which firms to include or otherwise, estimates productive than design firms elsewhere in England and Wales. will be based on the submission of data to the Her Majesty’s Revenue and Customs (HMRC), but this is not compulsory for firms that operate below the tax threshold and therefore such databases will under- represent firms that are often small and/or run on a part-time or ad hoc basis, which can be an important characteristic of some design-related firms. Furthermore, because firms with fewer than 250 employees are sampled on a structured basis and do not appear every year in the 2 It is possible to reweight the data, but this data, there are potentially even more reasons to question the accuracy introduces further crucially important assumptions about the degree of similarity of the estimates for the design sector as many will be included on this of the characteristics of the firms that are basis2. Collectively the above issues raises four key problems for any and are not included in the sample.

46 47 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Measuring the Value of Design

investigation trying to use official data sets to understand the relative Moreover, many people that work in the manufacturing sector are importance of particular industrial sectors, such as the design sector, actually service sector workers. In a similar way, designers and design that are dominated by small and medium sized (i.e. less than 250 activities are difficult to identify simply because many designer as well employees) firms. as design activities are not necessarily classified within the SIC codes representing design. This is important if government policy is going First, as design-related firms are more likely to be small in employment to target policy to help designers, and whether targeting design is a size and in terms of turnover then the probability of their inclusion in meaningful policy target. this data set is likely to be biased downwards. PRODUCTIVITY Second, as the ABS data set is arguably regionally representative (where the region is defined as a NUTS1 administrative region, e.g. ++ small design firms are significantly more productive than the South West, North West or Wales) but is not necessarily believed to the average small firm in England and Wales, be representative at a lower geographical level, our analysis of plants ++ small design firms in the Bristol and Bath region are more that exist within the Bristol and Bath region may not be representative. productive than small design firms elsewhere in England and Wales. Unfortunately it is not possible to identify the extent to which it is representative as firms with turnover smaller than the tax threshold For larger firms – those with more than one plant are not required to submit this information to the respective authorities, - the evidence is less clear and hence for inclusion in the Inter-Departmental Business Register (IDBR) from which the ABS draws. TURNOVER In general Third, the ABS sampling scheme is arguably representative at the 1-digit SIC code level. However, as we are drawing on a non-standard definition ++ design firms have lower turnover than the average firm, of the design sector that cuts across SIC categories there is also a lack ++ design firms turnover is significantly higher if they are based of understanding whether our estimations draw on a representative in the Bristol and Bath region. sample of design firms.

Fourth, as much of the ABS data is collected by accountants on behalf of firm managers, it is not possible to rule out the possibility that the postcode submitted by the accountant is actually the accountant’s postcode rather than the plant’s postcode. In our case, this may bias upwards the number of firms (including those that are design-related) that are recorded as being present in the Bristol and Bath area. Analyses of the relevant data sets can be fruitful when measuring turnover and productivity. Although this type of data is widely used and our study uses conventional techniques, we are doubtful whether this 14 % productivity premium for design firms in the Bristol and Bath region accurately reflects the real value of design in the area. Perhaps the easiest way to illustrate why this is the case is to refer to the work by Ritchie et al. (2012) who show that the number of manufacturing jobs is difficult to identify because many people who do manufacturing activities do not do them in the manufacturing sector.

48 49 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

50 51 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Findings

A starting point was the valuable research conducted by the project’s Mapping the Territory partners Bristol Media, Creative Bath and the West of England Design Forum, the West of England Local Enterprise Partnership (LEP) and the REACT Knowledge Exchange Hub. This included data collected from The need to understand creatives and their connection to place surveys circulated to group members and those working in design and becomes increasingly necessary to economic development as cities more broadly, the creative economy, across the region. Bristol Media, for example, conducts a yearly survey of the creative industries across continue to grow – artists and designers breathe new life into cities, Bristol and Bath. All of the members of Bristol Media and Creative Bath which serves to attract other forms of industry and different types are surveyed. According to the 2014 Bristol Media Barometer, there were of people (Florida, 2002). 15,900 jobs in the creative industries across the Bristol and Bath region, Between January 2015 and April 2015, we used lists of designers, organisations and companies provided by our partners. These were checked and used as a contact list for our online survey. The checking process involved searching for companies registered at Companies House and noting their Standard Industrial CIassification (SIC) codes; this is a list from which a company chooses the type of activity it is engaged in. SIC numbers were first introduced into the UK in 1948, since then the classification has been revised six times. The latest version was adopted in 2008. FINDING THE CREATIVES NESTA’s A Dynamic Mapping of the UK’s Creative Industries (2013) We began with a list of 1589 active companies and freelancers. Using SIC identified the creative industries’ workforce as its defining feature, codes as a benchmark indicator for the design industry, our search quickly especially in the ability to harness the capabilities of this workforce revealed that not all companies were registered with Company House. to produce outputs which constitute a growing share of the value added Sole traders, freelancers, small to medium enterprises and even large in most advanced economies. design agencies, who operate on a complex multi-functional level, were not listed. Among companies who were registered some had classified The Bristol & Bath by Design research team shares this understanding their activity under a division they might not be expected to choose. and gathering information from people working as designers in the For example, a large design agency in Bath registered at Company House region, ‘the creatives’, was from the start an important strand in the under Section M: Professional, Scientific and Technical Activities, had enquiry. We wanted to map each of them in order to understand the classified their business as SIC code 74100 - Specialised design activities; complexity of location in the region, to identify where activity clustered however they had also identified their business as 82990 – Other and why. This was not an easy task but we have had some success and business support service activities not elsewhere classified. articulated significant issues. The work continues. Many freelancers, sole traders and microbusinesses are not required to WHO ARE THEY? WHERE ARE THEY? register with Company House. From our initial data search only 65% of HOW COULD WE IDENTIFY THEM? the companies and only 40% of the 441 freelancers were registered. Our definition of ‘design’ was deliberately wide to include those working In addition Company House data is updated once a year, which makes outside the creative industries. We were looking for creatives in areas verifying freelancers, sole traders and microbusinesses difficult because of activity as diverse as aerospace and applied art. Companies in the of their transient nature. aerospace industry are usually large or medium-sized. The creative industries sector in the region is predominantly made up of small We also found that a company may register more than once, separating and micro businesses (which employ fewer than ten people) and itself into a series of interrelated activities. For example a large animation freelancers. How could we get the information to put them on our map? company in Bristol is listed 13 times, using many different SIC codes.

52 53 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Findings / Mapping the Territory

THE TROUBLE WITH SIC DATA MINING SIC codes are used in a range of statistical analyses but their use In order to extend our initial data set, to ensure our information is in relation to the creative economy has not gone without question. current and still with the aim of fully documenting design activity in the region, we undertook a second round of data gathering. The DCMS Classification of Creative Industries, instituted in 1998 and widely used as a standard tool in surveys and economic analyses, In addition to one to one interviews, telephone interviews, social incorporates SIC codes. Over time, however, inconsistencies in the and networking events coordinated by BBXD and their partners, we classification have appeared, not least because of the growth of digital undertook a range of data mining activities. Whilst this method of activity. In 2013 the DCMS, working with NESTA, produced proposals research is time-consuming and costly, it was important to reach to for updating their classifications, including in the use of SIC codes. individuals and enterprises that were not covered by the ONS data. NESTA’s Dynamic Mapping of the UK’s Creative Industries (Bakhshi et al, 2013) published in the same year set out the issues in detail. We started our search using Google, beginning with broad key words for Bristol and Bath and area, for example: designers, graphic Our approach to mapping designers and design activity in the region designers, or web designers, architectural designers. We searched has provided evidence, which reinforces the conclusions of others in the directories and registers of companies, professions, and professional project team. We are convinced that attempts to measure or map any kind associations. Twitter, LinkedIn, and other publicly available databases of design activity using SIC codes alone will inevitably be incomplete. were incorporated in the search. We used well-known creative hubs and spaces, societies and fora, design firms, designers and word of mouth. The codes themselves may not accurately identify design activity. Through the BBxD website we invited designers and design companies In the DCMS (2013) suggestions for updating classifications, only two to identify themselves. in the proposed list of Creative Occupation (SOC) relate specifically to design: web design and development; graphic designers. The fact that We have found it difficult to find freelancers who are not in a directory ‘design’ and ‘designers’ are pervasive in so many industries creates a or on the Internet; they may obtain work via a word of mouth and may problem for categorisation. The DCMS’s proposed list of seven Creative not need to use traditional advertising methods. Any designer or design Industries Groups excludes, not unreasonably, engineering which is company needs to be part of a design network or design group to be rich in designers. In fact the DCMS classification excludes many SIC found; without some advertising presence, or on-line connection they codes that constitute industries of high creative intensity and include are invisible to us. large numbers of ‘creatives’ in their work force. The updated list, more questionably, also proposes to delete the previous category of Crafts. The project’s deliberately broad definition of ‘design’ provided yet more The seven listed industry groups are all sites for design activity but evidence of the hidden and embedded nature of the activity within any ‘Design’, once a separate category, is retained and conflated with organisation. Because design works on a multi-functional level, across Designer Fashion. sectors it is difficult to separate out the design aspects from the rest of a business. Even though classifications are regularly revised over the decades to reflect emerging technologies, the different categories/sectors are still a blunt tool and do not accurately describe all the subtle descriptions of what designers do or the context in which they work.

Of equal importance is our finding that a very large proportion of the design industry in the region has no SIC code and thus is statistically invisible.

54 55 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Findings / Mapping the Territory

MAKING THE MAP Our second objective was to convert the information we had gathered If we want to do something, into a method for physically mapping the position of companies in a visual yet informative way. we know all of the people we A major challenge was to find the exact location of an individual, a company, or an activity. In many cases sole traders and freelancers do not advertise their postcode, as they may be working from home. would need and we can put The registered address for a company may be different to the operational address. For example a large engineering company is them into action really quickly registered to a London postcode, but is operational in Bristol. It was therefore important to cross check the Company House registered address with other sources, such as the company’s website. and we can do some really great THE BBxD APP In order to utilise and visualize this data, we decided to create an app things. I don’t think we could that not only acts as a design directory but also plots the geographical location of each design business or freelancer. By categorizing the different design sectors we can reveal through filtering options where find that anywhere else in the particular specialism are densely populated or dispersed throughout the region. This highlights the sectors that are in abundance as well as the more fledgling design areas. country or in Europe actually.

When producing and promoting the app we asked designers to add themselves by completing an online form. As well as giving us an It’s really special. opportunity to involve designers in the project, it also enabled us to find many freelancers that could not be found through our – Event Production Designer, Bristol previous search methods.

We have carefully considered the aesthetic, tailoring it to the design community, in the hope that our prototype will engage designers and encourage them to provide data on themselves and their businesses. Now that an app of this type has been developed we hope that it can be used as a tool for mapping design in other cities.

What would enhance the design industry in the region? A visual online directory showcasing the skills on offer from the whole creative community. A creative hub of expertise where you can see and compare at-a-glance and by sector. I think this would become the go-to platform for companies seeking the right people for their project. -Survey response

56 57 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Findings

The Designers CHARACTERISTICS OF DESIGNERS WHO RESPONDED % Employed full or part-time 35 The designers who responded to the online survey were involved Founders/owners/employers 32 in a wide variety of types of work. Responses to the survey Freelance or sole traders 26 question ‘please describe what you do’ included: systems architect Living in Bristol 68 in the aerospace sector, potter and designer- maker and lecturer Living in Bath 25 Living elsewhere 7 in ceramics, high-end interior design studio designing yacht interiors, hospitality and residential projects, art editor on a national Male 54 Female 46 magazine, creative agency for branding, designer and manufacturer of timber buildings, app developer and costume designer. White British 86

The largest proportion of respondents was made up of graphic Originally from the region 35 designers; the smallest group was from engineering or aerospace. Incomers 65 In the region for over 15 years 45

A quarter had been in their current post more than ten years; Educated to degree level 80

43% had been in their current post for three years or less. Earning less than £6,000 pa 5 Earning less than £20,000 pa 23 Earning more than £31,000 pa 39 Earning more than £52,000 12

The reasons for becoming a designer, for most respondents, had little to do with income but were much more associated with personal interest, wanting to have a sense of accomplishing something, and putting skills into use. A quarter were motivated by wanting to run their own business. The freedom to work creatively and flexibly, to solve problems through their work and to make the world a better place, were also important to them.

Over 80% were satisfied or very satisfied with their work.

Most of the group were graduates and of these three-quarters had studied a design-related subject. A third had postgraduate qualifications, mostly at Masters level.

58 59 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Findings / The Designers

WHAT BROUGHT THESE DESIGNERS TO THE REGION? WHERE DO YOU DO THE MAJORITY OF YOUR WORK? The selection of a response to this question highlights significant The response to this question indicates the high proportion of micro- aspects of the design community in the Bristol and Bath region. businesses or freelancers in this sample, and suggests something of the style of the working lives of this sample. Almost a quarter of Only a quarter of respondents chose to explain their coming to the respondents worked mainly at home. More than a quarter did most region as business or work related. Family, friends and quality of life of their work in their own studio, in co-working spaces, or in a café account for almost half the reasons given. A quarter were already living or bar. Less than half worked in an office or at an employer’s studio. here or had come to study and decided to stay. Overall, personal rather than professional motivation accounts for their location in the region.

This is reflected in what these designers said about the ways they built their networks. The majority of responses were spread between personal contacts, friends, family. There was less emphasis on gathering contacts through work and business networks. Museum/Gallery Education Institutions

Public Space

(Café, Bar)

Other

1

1

Co-working Space(s) 2

Home 2 2 11

Employer’s Studio 12 12

O ce 2 L 22

12 16

Own Studio C

60 61

HA GH HE EGN 10. WHERE DO YOU DO THE MAJORITY OF YOUR WORK? CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Findings / The Designers

WHAT DO YOU MOST LIKE ABOUT BEING/ DIVERSITY WORKING AS A DESIGNER? Diversity can be understood as an indicator of a strong ecosystem: it suggests a rich flow of value between a wide range of actors. It also Creating something from nothing and seeing it grow from an idea produces resilience in so far as the system is less likely to be reliant on to a reality. narrow supply chains or markets.

A creative environment to think in and flexibility in when and how I work. How diverse is design in the region? Is diversity important?

Freedom, creative problem-solving, satisfaction, learning, breaking rules. To explore these questions we drew on information, experiences, ideas and opinions the designers who took part in the survey, the It’s not like having a job but a passion I get paid for. interviews and the focus groups, had shared with us.

Because everyday is different – a cliché I know, but it’s true. I love We found evidence that designers add value in a very wide number starting a project and not knowing how it will turn out. It’s a very of market sectors and that they value diversity in the disciplinary exciting was to make a living – most of the time. It’s a discipline that backgrounds of their talent base. demands an open mind, and the ability to look at things sideways and be able to use these skills to help other people solve problems Designers in the region have clients in broad range of industries and is incredibly rewarding. locations, as is evidenced by the interviews, and the Enterprise Imaging analysis. The survey results identified designers working in 59 industry The sense of achievement you get from designing something that categories. This diversity is essential to the sustainability of the you think looks good and is practical, and finding that others like it ecosystem, as reliance on a limited set of skills for a particular industry too and are willing within a narrow geographical location could endanger the whole to buy into your designs. system, should that industry collapse or the region suffer a recession.

The fact that your work lives beyond the walls of an office, or the The diversity of designers’ individual backgrounds and experiences is boundaries of a sector, that it can make lives easier. It is a pleasure, also important. Our results, when we looked at the social diversity of truly, to have this as an occupation. the design community, were less encouraging.

The problem-solving, the solutions and the making of something A designer’s role is to understand a client’s needs, problem solve, and beautiful out of a muddle of ideas. to communicate messages to consumers. The more diverse in terms of background and experience designers are, the greater the potential for The sense of creative freedom – not always available. Creating understanding the client and the richer the solutions generated. One things, hopefully, that make a difference to people’s lives and day- designer from a large engineering company in Bath commented on the to-day living. importance of recruiting graduates from a wide range of universities.

The chance to challenge the brief and create a new concept. I think the diversity is important, we don’t just want to get Be at the forefront of a project, leading it and exploring new people who’ve come through the same academic training, trends, fashions and technologies. because that breadth of view, that breadth of experience, the mindset they develop through contact with the different The field combines technology, psychology and aesthetics. lecturing staff is part of the life blood of us just thinking a bit It makes it challenging to find the right answers to design differently and being a bit different to the norm, getting those problems, which makes it fun. creative ideas that otherwise we wouldn’t see because they are always coming down the same stream. So, it’s a deliberate policy to recruit wide, certainly nationwide. – Engineering Designer, Bath

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However, encouraging social diversity in design education and training is a challenge. Not all of the designers interviewed discussed their early It is a community. You can’t ignore years’ influences or parents’ occupations, but two thirds of those for whom we actually have data on routes into design had some kind of family background or connection in design. Eighteen had fathers who that it’s a community and there were designers. From the survey, 18% of the respondents said their decision to go into design was influenced by family or friends. These are startling findings, suggesting that design reproduces itself through isn’t anonymity –your name and a very narrow distribution of cultural and social capital. Designers are primarily motivated to practice design for personal what your decision is, are going to fulfilment satisfying a need to understand the world and to communicate or express their understanding to others. Exposure to design and encouragement of their interest at a young age is a stay with you. Your reputation is key factor in a designer’s choice of career. For children who aren’t introduced to design by a family member, school is instrumental in introducing children to what design is and to the role of a designer. quite important and you know it. For some designers in our data school was important in establishing their orientation to design. They remarked on being introduced to design or being encouraged in their interest by a school teacher; or This is not a corporate environment on being only good at design-related subjects at school, making design the obvious choice for further education. whereby you’re anonymous and Findings like this suggest that there is further work to be done in schools to a) establish design as a viable career path and b) encourage a much wider range of talented students to start to identify themselves you can move freely between as designers. The lack of social diversity among our sample of designers is echoed in organisations with nobody really the equally marked lack of ethnic diversity. 86% of the designers in the survey self-identified as white British. Perhaps not surprising when a survey of graphic designers (2015) showed that 88% of the 1,321 UK knowing or connecting. If people respondents were white British. What is the effect of this apparent homogeneity in ethnicity, class, move practices, they always know and educational background of the design community in the region? about each other. – Architect, Bristol

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Findings

The Designers’ Voice DESIGNERS ON PLACE I describe it as the California of the UK. I’m messing about but I always We heard the voices of almost 300 designers from the region. tell them it’s the California of the UK. I also tell them it’s the most plainly intelligent place to live in the world. And they say ‘Why, why is Their experience of living and working in the region, their ideas it the most intelligent?’ I say well because it’s a great city it’s got huge and opinions, their specific but varied perspectives, their vision: culture, it’s vibrant and it’s got access to this wonderful countryside. I can be surfing in 2 hours, I can be going for a cycle ride. all were important in helping us consider the question of value, Network and relationships are key. I worked in a shed as an architect. and identify some of the key contextual factors that interact to In Warrington. And it was awful, it was just awful. And we all used to support or undermine successful design enterprise. go for a little walk around an industrial estate at lunch, thinking about how much better life could be…But actually, it was counterproductive The designers’ responses to a range of questions were gathered for a creative role. There was no stimulant. You couldn’t see anything, you couldn’t hear anything…As an architect you’re there to design from 75 interviews, three focus groups, 29 telephone interviews places…In terms of a people subject that design is, you need to be near other people. And that’s why the community’s important… I think and free responses in 155 online surveys. dialogue is really, really important. People want to see, touch, feel, hear, smell. You know, the emotional response to things drives a response to what you’re creating. Really fundamental.

These two statements (with apologies to Warrington) illustrate many of the themes arising in our analysis of what kinds of things respondents said about the relationship between qualities of place and their working lives as designers. Some of what follows might be dismissed as ‘lifestyle’ externalities having little or no bearing on productivity. However we would argue that a finer grained reading of the texture of our evidence suggests that we attend to particular qualities of place in order to support a thriving creative economy.

Scale and Spaces A major category of responses concerned the scale of the cities and the ease of movement they afforded, particularly as regards walking or cycling. This may be a reflection of the high concentration of creative work in big metropolitan centres, the idea that its possible to have a creative job and walk or ride to work appears to be a particularly powerful attractor. Many respondents also spoke about how living in cities with easy access to great countryside was a major attraction to living and working in Bath or Bristol.

I quite like that idea that it’s really walkable, and you’re in this busy almost metropolis if you like, but then within 20minutes you can be in a rural countryside setting.

I don’t know how, but it’s quite a rural city. It doesn’t feel like you’re in metropolis. It feels like you can come in and out quite easily.

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When I was thinking where I wanted to base myself, it wasn’t going And so I moved into the Dispensary, and that was basically the big to be London long term, because I’d freelanced there and I just like change for me, in terms of social life in Bath, but also opportunities. more the outdoors. I’d been to visit my mate a few times before, so I met loads of people who worked in, you know, either had work for I quite liked Bristol. I liked the outdoorsy aspect of it; the mountain me, or I could give work to. It was a real eye-opener for me. And also biking was just on your doorstep. Yes, I had some good times when allowed me to actually go out to work again, which was nice. You I was in Bristol, so, yes, I was quite happy to move here. know, I’d been working in my basement for years, or my small study. So it was nice to actually be able to get out of the house. There is a substantial body of evidence from our interviews that has something to say about the precise scale of designers’ working There has been, historically, a good supply of co-locative working and environment. The city centres are ‘walkable’, which promotes an ease creative studio spaces in post-industrial properties in Bristol though of formal and informal face-to-face interaction; the pace of life is slower. conversion to creative re-use has been more gradual in Bath. It remains to be seen if the impact of recent increases in the cost of owning or Bath is essentially a town. I mean, you can walk across it in renting property will diminish supply. Certainly protecting the supply 20 minutes. So, it’s got that kind of not rushed feel, until the of low cost post-industrial studio space is a key role for local authority tourists overwhelm it. But it’s got that kind of slower pace. planners seeking to support a healthy design infrastructure.

I came here because my desire was to live in a city of short distances. What about London? By far the biggest proportion of the UK Creative Economy is transacted The scale of the cities in our survey – not too big and not too small – in London. The dominance of London in creative work extends to the means that designers can operate in networks, where linkages from design industries. All regional creative economies have to develop neighbourhood to region are a commonplace feature of professional a strategic relationship with that dominant market place. Designers and personal worlds. This sense of the human scale of the two cities is located in Bristol and Bath were no exception. It is clear, from the many also apparent in what respondents said about the importance of both unsolicited references to London in the interview data, that the sense social meeting places where work can be conducted (ie cafes and bars) of its ‘gravitational force’ is experienced powerfully by the design as well as social working places that provide network opportunities for community in the region as both push and pull, positive and negative. ‘dialogue’ of the sort our architect, marooned in Warrington, felt was so important. Respondents frequently mentioned particular cafes or bars [Bath and Bristol] it’s also a really well-connected area, in terms of as part of their regular working set up. connections to London. For the entirety of my career, I’ve typically commuted backwards and forwards to London intermittently Discussing a proposed new co-location workspace in Bath, one focus through that whole period. Still, even now, with the types of project group participant described the ideal set up as, we are involved in in Bath, London is very much a centre of gravity, from the point of view of legal expertise. Some of the design …an old, industrial building but, basically, they have pulled in expertise, architects, engineers, development professionals an amazing collection of creative industries including (Famous we use are still, to a degree, based in London, even though fashion designer) wood, furniture designers and there’s a gin we buy locally as much as we can. factory. The heart of it is basically a bar and a restaurant and a very communal, sort of, bohemian feel to it. That has a good The response of this landscape architect typifies the region’s tactical vibe because they have space where they have exhibitions relationship to London: the travel time (100 minutes from Bristol, 90 and things happen all the time. They’re by a river. from Bath) is short enough to maintain working relationships with the London market, which produces income for the region. (Though the This sense of the importance of the social geography of creativity that cost of early morning train fares - £180.00 peak time - was a repeated supports design workers is also present in this prototypical account of complaint). However the interviewees also expressed the desire the how a new designer arriving in the city is able to negotiate a working ‘buy local’ as much as possible. life through accessing a succession of porous spaces,

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The fact that London is an accessible client market, as well as a site There is also a strand of evidence that understands Bath and Bristol as for talent and expertise was recognized as a major advantage by many being a good place to take risks, experiment and risk failure exemplified respondents, typified in comments that simply acknowledge this as a by the following perceptions: geographic reality of working regionally: There’s obviously something happening, specifically within …the clients tend to prefer it in London. Because it’s easy for them. digital music, obviously, but within digital there is something very And the artists, as well, we get a better choice of actors if we’ re interesting happening. I think the regional support is phenomenal. recording in London. If you want to make new things, entrepreneurial things, then you do have that support. You wouldn’t get it in London, so if anyone’s However by far the dominant tendency in the interview data was for starting up a business or wants to try to do something a bit new, I’d respondents to discuss London as a negative to Bath & Bristol’s positive suggest they left London and then went to Bristol, for example, so qualities, especially in relation to quality of life. Perhaps the major that they’re able to access the kind of funding that you don’ t get in feature of many of these comments is the way that Bath &Bristol is London. It’s slightly more open; London is very cliquey, very closed. perceived as a second stage life destination for creatives who have worked in London but want a different kind of life, especially as they High profile creatives get to the stage of having children. High profile creative enterprises with international brand names, notably Hewlett Packard, Aardman Animations, Dyson and the BBC There is a pattern, yes, and there is that young family kind of idea Natural History Unit were mentioned as important to the region. about relocating to the South West. We do reasonably well from Aardman, for example, are perceived as being ‘good for all of us’ those people who are relocating out of the London market for (in media). lifestyle reasons, so that children can have more space to roam. I do think there’s a real benefit to the fact that we do have Aardman Compared to, kind of London culture, if you’ve left before seven here, because it’s so inspirational, it’s so good for us in TV to be you’re obviously a wimp, and most people are there at like nine, looking at them. And they’ re very closely linked with UWE, there’s half nine, ten, where it’s all about the work - it feels like Aardman a lot of talent movement between there, which helps all of us. upholds that quality of life of, ‘you’ re here to work, but then go And I think that’s a really useful thing. home and walk your dog and hang out with your kids. Similarly the Natural History Unit at the BBC established a talent In addition there was the lower cost of living and working in Bath & constellation with specialist expertise and plant in the region. An Bristol rather than London, and less time getting to and from work: interviewee explained how one company came to be located in Bristol.

I think they want a different lifestyle and I think they want Tigress Productions is quite an old company in terms of production somewhere that’s a bit more affordable than London. If you think companies. It was started roughly twenty years ago. And it was about what London has become over the last 15-20 years, it’s been formed as an offshoot of ‘Tiger Aspect Productions’ in London as a out-priced by Russian money and everybody’s pushed out into the natural history production company…At that time, it made sense for suburbs. Maybe people don’t want to travel so far to work in London. it to be located near to the Natural History Unit of the BBC. So that The best work is still there; we’ re not far behind, so I’d much rather we could share stuff. Because there’s a quite small group of people live here and pull the work out of London, personally, than go and with the required talent, experience and knowledge of the natural live and work up there. I feel like I’ve sort of done that. I’m still very world. So it makes sense to sort of form yourself quite near to where ambitious; I want to do the best work, but there’s also the fact there’s a big bunch of those people. The Natural History Unit at that that my kids are here, they are in school, and I love the city. I want time, was more or less the only one of its kind in the world. So that’s to promote that as much as possible. Now we shout about Bristol, why it started in Bristol . rather than trying to hide the fact.

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Quality of Life DESIGNERS ON COLLABORATION, One of the biggest categories in response to our probing on the CAPACITY AND COMMUNITY specificities of Bristol and Bath as a region for design was the quality Generally, the spirit of collaboration and coordination is really strong of life that the region has to offer. Clearly these responses overlap in Bristol. That’s a really strong thing. I think that runs from kind of very with the category of collaborative networks and some of the more small musical club nights, up to huge kind of creative partnerships. specifically physical characteristics of place. However here we have I think that’s definitely a thing in Bristol that I’ve noticed, actually. tried to isolate and analyse the more abstract qualities of the region that the design community experiences as a strong positive attractor. The key feature of a cultural ecosystem is the nature of the relationships between the agents in it. Each actor in the system will The most common kind of response was praise for the cultural give to and get benefits from their environment. A clear and strong resources of the city; not just the music, gallery or food scene in strand in the data was respondents discussing the ways that their the region (though these are part of it) but the wider sense of professional and personal networks created a richly collaborative how people experience the mix of available cultural resources, set of relationships. We have identified the salient features of these exchanges in an attempt to elaborate what kinds of exchange What I like about Bristol and what I’ve found is the understanding of constitute the regional design ecosystem. the people of Bristol, the liberal nature of the city and the intellect concerning either cultural values, or food, or politics. Really, you Capacity Webs can’t hear that or see that until you go somewhere else, and then The rich web of relationships between different design firms, different you think, ‘Wow’. Bristol has got something that I think has been sectors, markets, clients, places of work, friendship networks and building up over…since sort of like the ‘80s, I think, through certain professional support organisations produces long term capacity for avenues. I think it’s bloomed into an amazing city. the design industries in the region. At one level this can be understood as a classic example of a cluster of co-located enterprises building So Bristol has got this kind of rather ugly, shitty side to it, and I quite capacity over a long period of time: like the contrast, and I like the…it’s not London, but there’s a pulse. I mean, the aerospace industry is quite tight-knit. A lot of people, Responses to Bath were equally positive but for different reasons. once they’ re in the aerospace industry, they stay there their entire The city also perhaps defines a market, a clientele: careers. Not necessarily with the same company, but they stay in that same industry. So you might have, you know, a guy who …it’s that leading trend kind of vibe which maybe other cities don’t was working at BAE, who then went to Augusta Westland worked have if they’re more industrial. I mean, I always look at it that Bath’s building helicopters, and then moved to GKN, and then made the always been a really rich place, everyone’s come to play here since move to Airbus… So –so a lot of that retained knowledge within the Romans and that’s where designers look for the cutting edge, the people it’s a kind of network effect for the South West. the high end stuff. These human capital networks can also produce resilience and Because, and this is something we always had in our mind, it’s such innovation. Here a respondent recalled the way that the creative and a beautiful city, it’s a great, why not make a weekend of it, or a day design community responded to the redundancy of half the Hewlett of it. There’s so much to see, it’s a really just positive, lovely, happy, Packard European research lab in Bristol in 2008. feel-good place to be I think. Everyone who lives here really likes living here. They’re all proud of where they are, so, you don’t get A lot of people left. What was really nice was the community strongly that everywhere. came together to say, ‘We don’t want this talent to leave the area. What do you need to help set yourself up as an independent, find other jobs? What can we do to hold you in this area?’

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This response led to re-employment or new start-ups. This long term The community builds and monitors itself: capacity building, exchange and self-consciousness has also had the effect that design is slowly increasing its ability to sell itself within In Bristol, people like to use people in Bristol and kind of keep the region, it, keep it in the sector. I mean it’s kind of like the Bristol pound. People use artists like that to keep the – the creativity in Bristol I think that might be putting a finger on a little bit of the change going, like a forward motion… since twelve years ago –which is only a short time ago, really, since I’ve been doing this – the communication about what design does The community is personal but based on reputation: and offers has become more articulate. Yes, I think that might be quite a change that I would have perceived. It is a community. You can’t ignore that it’s a community and there isn’t anonymity –your name and what your decision is, are going Design is Social to stay with you. Your reputation is quite important and you know Design adds value to services and products through discussion, it. This is not a corporate environment whereby you’re anonymous conversation and communication aimed at problem solving. As a and you can move freely between organisations with nobody really sector it has a high intensity of intrinsically necessary communication. knowing or connecting. If people move practices, they always know This is well illustrated by this architect discussing the necessity to about each other. explain to domestic clients the design function of architecture,

I think they’re expecting, you know, the architect’s just going to do this extension. So, it’s also an education with the clients, because they don’t really know what an architect does. So each time you get a new client, you explain the process, they might think, oh, you’re just drawing these plans up for planning. Don’t realise you’ve got to design it first.

These discussions create a strong network of local client relationships. He described their business:

…a hundred percent of our work [is] in this, in this region. And a lot of it, you know, in this village for instance, I’ve most probably done twenty projects within the village, walking distance away! So, I think I’ve looked at every house since I’m the village architect.

In the micro and SME business space, this intermeshing of personal and professional networks came up repeatedly as a feature of the Bristol & Bath design environment. This is particularly true of smaller flexible businesses with high rates of self-employment and freelance working patterns: here we encountered numerous accounts of work arising out of entrepreneurial activity in social and informal networks. The net effect of all these ‘little opportunities’ is to build a ‘community’:

So actually, there was a real good community of those people. It became like a family of people who were aware of the value of the design intervention, and what it could do for the businesses.

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Community hubs DESIGNERS ON LEARNING AND SHARING A community manifests and sustains itself in different ways. If groups are going to collaborate rather than compete then they have In Bristol and Bath the sense of community is frequently associated to adopt a different approach to what kinds of intelligence they share with particular places and specific professional support networks. and what they guard and protect. The evidence in our interviews is The Arnolfini, the Architecture Centre, Colston Hall, Watershed’s that peer-to-peer critique and an open sharing of approaches and tools Pervasive Media Studio, Spike Design, Creative Bath, Stokes Croft, characterised the design networks in the region. There was, however, Hamilton House, Centrespace Gallery and Bristol’s Old Firestation an understandable wariness about what exactly is shared especially development are all named repeatedly as important sites in the around the pricing of services. Exactly what is shared also varies professional biographies of the regional design community. These according to sector and scale. culturally funded and social enterprise hubs all produce long-term value for the design ecosystem in the region. This is a prototypical Keeping on top of professional intelligence is a key life-long learning young designer’s story of getting established in Bristol, commitment for design professionals.

So [I] just went to Arnolfini, sat there for a while, used that as kind And that can be from going to conferences; that can be from of a safe hub, and then explored. Actually started working at Spike speaking to peers; that can be from looking on social media; that Island as a gallery invigilator, and built up a really nice group of can be from reading blogs. And then what you have to do is you friends there. I was a Spike Associate, which opened up a network have to look at it, you have to analyse it, and work out what of it of different creatives and artists. I’ m also a member of the print works for us, what of it works in our context, with our clients, and studio here, so it actually ended up that Spike Island was a bit of our proposition, and our business, and where we want to head. a hub for me in terms of a way in, to friends as well as work. Whilst the picture is not thoroughly consistent there is some evidence The importance of these design positive spaces was linked to a wide that peer-to-peer sharing is an important process for creating that range of design support professional networks which our respondents shared know- how capacity: referred to repeatedly as key sites for professional networking, for securing new business, for continuing professional development, …no big company, or no established company, is ever going to steal for peer to peer critique, and for friendship. These networks in our or copy an unproven thing. They’ re going to wait for you to prove sample included, events at the Architecture Centre, First Fridays, it, and then they might... but, by then, it’s a completely different, West of England Design Forum, Bristol UX, Bristol Media, West of challenge and a different problem. So, if you’ re open with the idea England Aerospace Forum and Creative Bath. then you’ll get the help and you’ll make the idea better and less, less easy to steal in the future. Sociability, friendship and professional networks, design-friendly meeting places and spaces were all crucial to an industrial sector In the start-up and design agency creative digital part of the sector that consists of growing numbers of freelancers, micro business, the dominant attitude moves toward the position that sharing will short-term contract work and flexible employment. improve processes and therefore the value of your design product in the market place. These practices are a conflation of traditional art school ‘crit’ culture where creative work is subjected to the public critique of tutors and peers, and of the newly agile practices of design in which iteration with users within a peer-to-peer development environment is increasingly common.

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However as firms get bigger and more specialised the nature of their Whilst recruiting talent is the key function of the relationship with collaborations become more technical and more precise. We heard Universities it is also possible to see in the data that this is also a sub- for instance of a major media post-production company sending function of the rich informal networks that have been built up between staff out for free to advise a smaller outfit on what post-production academics and industry over the years. For example, a design engineer systems they should implement in order for them to be compatible told us: with the workflow of the bigger company: a kind of free service that also becomes market development. An architect commented on similar I also now mentor students coming out of, coming out of the potential benefits of collaboration that might accrue from a move to university, who have got an interesting idea. [Name of Tutor], standardise computing platforms: at Bristol, has sent me a few students, saying ‘ these guys have got an interesting idea, you know, just have a look, see what you Oh, it would be a great benefit. Yeah because you could, socialise, – give them some advice if you can. you know. And perhaps get into co-operations with each other, to look at the bigger projects, maybe you could work together if you These networked patterns also extend to using the intelligence of can make sure the systems work in terms of the IT and the CAD, recent graduates for recruitment: the computer- aided design. We have good relationships with them and we look to previous The best account of this form of design collaboration as product students, actually, to help us to recruit. That works well because development is offered by an engineer talking about the company’s it is based on partly the relationship and knowing who the good relationship with its major local client, Rolls Royce: students are, because we’re obviously aiming at the top students rather than just a volume recruitment. These kind of companies, the links go throughout the different levels of the business... When a need is identified in a very large Six of our industry respondents also talked about having had or organisation, …on a new engine line, say, at Rolls-Royce, we’ll tend having continuing part-time teaching roles or ‘guest lecturing’ at local to work with them to understand the needs and design products universities and the way that this helped them stay in touch with the based on those needs. And then therefore our design departments emerging talent pool. are working with their design departments and collaborating and, sometimes, I hope, we influence their design and they influence In the design engineering sectors there was more of an awareness of our design such that the end result is a better product for them Universities not only as a talent pipeline but also a site for research and for us. So we work together, so we do have, loosely, I guess, collaboration. Working with PhD students on collaborations with staff partnerships with many very large manufacturers in that sense. on research projects was seen as an important source of research and development for the companies. Designers also talked about the Universities influence of being involved in collaborative hi-tech design projects with Some respondents showed a strong awareness of the importance Hewlett Packard and UWE Bristol. of the regional universities for talent development. Importantly they thought this awareness was maintained as a function of the networks Alongside the positive aspects of contact with universities, respondents of individual relationships between makers, designers and teachers in also pointed to drawbacks in the university system and impediments to the region. working with HE institutions.

The majority of comments were in relation to the production of I think universities are tragic places, in a lot of ways, in terms of their talent; the regional universities are clearly seen to have a major role ability to break out of silos. I think [this] also comes from things like in maintaining the talent pipeline for a successful design sector. the research councils, which are very siloed.

How can you be a successful design company in a region? To do that you have to be a specialist but you have to grow your own people. It’s that combination of Bristol lifestyle and attributes, working with taking very talented people from educational establishments and growing your own.

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Findings / The Designers Voice

Another design agency respondent offered an even more trenchant DESIGNERS ON VALUE critique of the University’s capacity to do business with the sector: How is design valued in the region? What value does design give to the region? They have just as much problems with the egos, and the silos, and Designers were not at all sure about how the region valued design. the difficulty they have in backing one horse because that’s doing But they were very clear about the value of design, from their well, because they have to deal with the poor horses who are perspective, and about what it brought to society and to a company clopping along and aren’t doing very well. …Any business would say, or a project. They referred to the value of design as a process, as a ‘That’s been good, put money behind it. That’s not doing so well, tool, as a means of communication, and in the value it added to the it’s make or break. Either raise your game, or we’re pulling you off, experience of the consumer. we’re not going to suffer poor performance.’ You know, we have a 200-year-old, 300-year-old academic system that’s really finding I think the notion of design is key and is fascinating. And it’s the best it difficult to break out of that, I think. of humanity. The idea that you look at the world, you analyse it to find a problem, and then you come up with a solution to that. That’s This room for improvement was also reflected in some harsh words just what humanity’s good at…And I think that there’s just not that about Universities’ position on Intellectual Property. A respondent from many of us get to do that now. But all of the greatest achievements Aerospace design for instance took the view that despite all the upsides of our species have been design solutions. to working in Universities their compulsion to take an IP stake was – Furniture Designer counter-productive, Every new product we make is, is designed. So design is absolutely Well it’s kind of a double-edged sword, to be honest. I could say key. If we didn’t have new products we couldn’t function… So design all of the positives and list them all …you get access to the world’s is a hundred percent. leading research, you get access to the universities and their links – Engineer and you get into a network. So there’s all the positives from that side…There is, there is one downside and I think it’s a downside What percentage of my work do I think is related to design? All of it. that probably prevents much more interaction with universities – Events Company than…than we currently do. And it’s because of the IP position from universities. It seems really counter-productive to us that Without design we wouldn’t have a business. I mean, it’s the way the universities should take an IP position, which is, you know, that we approach what we do that sets us apart. counter to industry. – Events Company

It’s really important, I think the way that a catalogue designed… I think it’s the difference between people buying or not buying. – Designer in publishing

If it’s not designed well, it won’t be desirable and when it’s not desirable, people won’t want it. And then it’s a valueless thing. – Textile Designer

If the website didn’t look on brand and wasn’t innovative and kind of tech advanced, then it wouldn’t add up and people wouldn’t trust it. People are getting in these cars, they need to have that reassurance that it’s an established company and we create that, we create the vision, which is supported by the technology. Invaluable, without it, you would not succeed at the end. – Designer of a website and app for a minicab company

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Findings / The Designers Voice

Value as net benefit question. Maybe what you decide was, ‘Hey, I asked the wrong Design work benefits the client or company and consumer. Net benefit question there. I need to change the question a little bit’. could be measured in terms of a client’s increased turnover or growth. So, every time you go round, you get smarter. And if you don’t go Many designers considered net benefit as the measurable economic round the loops enough, you just end up with a rubbish product. value of design. However tracking this data is labour intensive and So, there’s a real balance here… how – if you haven’t got it wrong requires the cooperation of clients. A number of designers expressed a few times, how do you know it’s right? frustration at the difficulty of explaining this to clients. – Engineer

Design, if it is to be valuable, delivers increased business. It delivers Similarly a designer in marketing described spending time questioning increased orders. It delivers brand profile. It delivers more wealth the client to clarify what is unique to the company so that it can be back to the business. communicated. – Graphic Designer ‘The designer is enabling the proposition to come across. The client’s What we try to do is understand their business or their financial telling us about all this stuff they passionately believe in and we say model for supporting it early on…We, therefore, are able to say, ‘So what? It’s a cynical world out there. They don’t give stuff about ‘Well, look. This is the kind of outlay you’re going to have now. your company. So what is it that you are delivering to them that’s Whilst that might be a bit more than you were anticipating, this is going to make their lives, their business, their thing better.’ the anticipated payback or return or value of your investment over five years… Isn’t that worth it?’ Another engineer identified value in design as the quality that – Architect distinguishes his company from its competitors, and as the foundation of its international reputation. He claimed that the company appeared If you get the design right early on, it doesn’t cost a lot, but it makes least competitive when bidding for a piece of work where the the difference early on. So instead of you tacking off in the wrong only differentiator was the price, but came into its own when the direction, and then having to make a massive course correction differentiator was knowledge, experience and willingness to take because you’ve got it wrong, or … you’ve got it on the market and it on a design challenge: doesn’t sell, you’re actually fixing it early on. So I think that’s what we try to get into the heads of (our clients). We’re at our best when somebody says, ‘I have got this great idea for – Product Designer something, and I want to hang it from sky hooks.’ And we go, ‘Really, right okay, let’s think about that.’ Whereas most people would see the Value realised in use risk that’s involved with that and run a mile because it immediately Design also has a value that is realised in use. This can be by the client puts you in unfamiliar territory, and if you’re on unfamiliar territory and the designer as they work through the design process, and by the you’re starting from first principles and it’s very difficult to price consumer when they interact with the designed object or service. something like that and provide a good service. And so a lot of our competitors step back, whereas they look at our portfolio hungrily To the client and designer, design has value as an iterative problem and would give their right arm for it, though wouldn’t necessarily solving process, that ensures the outcome is right. One designer likened want all the risk that goes with working in that environment. the iterative design process to going round the thread of a screw, another aspect of design difficult to justify to the finance department. Value here is being co-created by the designer and client through the design process. Now, unfortunately, what happens is the accountants of this world look at it and say, ‘Well, that’s a waste of time, isn’t it? Why did you The use value of design is also realised by the consumer when engaging have to go round a dozen times?...Why didn’t you get it right first with an object or service. This may be through the feel of an object in time?’ They completely miss the point that every time you go round, the hand, or the experience of being in a designed environment. you learn something. Because, maybe when, when you get round This designer describes designing furniture for a university: and you check, you go, ‘Did this work?’ Maybe, maybe it’s as simple as saying you got it wrong. But maybe your question was a stupid It’s again solving a problem. What you’re looking to do in a university is create an environment that actually stimulates learning, and

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Findings / The Designers Voice

stimulates creativity, and stimulates an environment where While engagement with education was talked about by designers across people can actually express themselves, and that’s not just about the sectors, it was particularly noticeable in engineering. The majority the academic rigour that they go through. It’s also about the of large design companies in the region are in the engineering sector environment that they sit with, and everything influences that… and it is large companies that have the capacity to co-ordinate and We spend a lot of time researching that, understanding what fund this type of involvement. Engineers in our study felt that school environments work.’ education is currently failing to inspire future engineers, and so they are actively taking steps to encourage young people into the profession. Similarly, for a games designer, the experience of the end-user is paramount. I’m appalled at the way we inspire people to come into design in Our prime skillset is designing these experiences…designing a this country. And I look at the way talent is being nurtured in other core experience that is going to deliver a kind of emotional return. countries and think, ‘What are we doing?’…We have kind of turned So, we want you to feel this way, we want you to think this, think our back on the process of requiring the skills that go into making… about these things, we want you to be able to do this thing, or to like we’ve put them in a blue-collar wrapper, and said, ‘That’s not react in this way...and then we structure that around a series of what you should be aspiring to do.’ And that is ludicrous, because smaller interactions. that’s not what other countries are doing.

What value does design give to the region? The perceived benefits derived from design companies included Engineering designers also expressed a sense of a responsibility in employment and providing work for regional third-party services. using their skills and experience to address the problems that the But a number of companies identified a more hidden value: that world is currently facing, and to influence government and society. gained through attracting visitors for overnight stays in the region. One engineer, an employee of a large company, talked about the For one engineering company their clients’ business trips contributed activities of the charity his company funds: significantly to the local economy: Typically the areas we would get involved in, the three key areas are The Norwegians were over here very often and we discovered urbanisation, the migration of people into cities and how do cities they loved coming to Bath because it’s a beautiful city… I think cope with that need for greater density...We can talk about energy, that project alone probably contributed tens of thousands to the water, land, money, atmosphere. A lot of these things that are economy of Bath, because they were staying in a five-star hotel. facing society, engineers have a certain responsibility, because they They certainly liked their drink and their food so they were certainly hold the keys to solutions. The government will stand in the way of frequenting the pubs and the restaurants and so on. There were the solutions, but it’s still an engineer’s responsibility to influence half a dozen of them here, at least half a dozen times over the government, society, to do the right thing. course of the project. So it’s stuff like that that is invisible, but without us and without that project, it wouldn’t be here. Through discussions on the way design itself is valued on a regional and national level, it is clear that some designers feel the status of Event companies also bought large numbers of ticket holders to their design was lower in the UK compared with Europe and America. It was shows, to the benefit of regional hotels, cafés, bars, restaurants and suggested by three interviewees that a study such as Bristol & Bath by tourist attractions. Design would not be necessary in Europe, as the value of design was understood by the general population. We sell a lot of our tickets to our events… A lot of people come and visit the region from outside the region, so for example, 60% of One design advisor remarked that the government’s undervalue of our sales for [our regional events] come from outside of Wales and design was shown in the reduction of funding for design support. West… We get 30,000 people buying tickets to our event. The same sense of undervaluing and under-representation was felt at a regional and local government level too, due in part to the fact Engaging with local schools and universities, providing an introduction that design itself is a hidden process, hard to define and whose value to design for school children, work experience for students, funding is difficult to articulate. PhDs and offering opportunities for collaboration, are other ways in which design companies give value to the region.

84 85 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Findings / The Designers Voice

I think that’s one of the pities, from a regional economic growth point of view- you know, where do you find those champions [of design in That’s what design is about. the region]… I think, you know, if you went into Bristol Council, I think you’d find people who pay lip service to it, but I can’t think of anybody off the top of my head who I’d say is a champion for it. If you go back to the roots of Bristol & Bath by Design set out to understand how design creates value and the types of value it creates. design, it’s about experiment, Designers of all kinds across the sectors had a shared understanding and were passionate about the value of design as a process and as a and don’t worry about failing. tool for creation and communication. Rather than offering an easily quantifiable value, they talked about the net benefit to the client and – Engineer, Bristol the use value to the client and the consumer.

Their responses provide clear evidence that designers do not create value in isolation but co-produce value with their clients, as part of an enterprise with a number of stakeholders.

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Findings

What motivated you to set up your business? The Design Businesses Reasons for setting up in business reflected those given by all designers for wanting to work in design: personal motivation, a sense of accomplishment. These explanations were selected by more than a third of respondents. In addition there was a strong sense of wanting to be in control; a desire for creative freedom and the opportunity to create something individual, their own brand. Motivations related to money were relatively infrequent. Other reasons offered clustered around quality of life and family: securing flexibility, work/life balance. Two respondents suggested it was a way to ensure they were employed, and another as a defiant response to having to go to London to get a design job.

2

2 E 2

C MICRO DESIGN BUSINESSES 1 The online survey provided data from 155 designers who had their own 60 design business. A majority (86%) of these had fewer than five employees.

Two thirds of their businesses had been established in the region for more than seven years. The rest for less than three years. 2 Turnover of these organisations ranged between £5,000 or less (13%) and more than a million (7%). Almost half said their turnover was less than £30,000. Slightly less than a third put it at between £70,000 and £250,000. Almost all were positive about the short-term future, anticipating that their profits would increase in the next three years. C 16

C 11

H A 16

12

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Findings / The Design Businesses

Why did you locate your business in this region? In which sectors are your main clients based? Interestingly the reasons offered here also reflected the responses at The businesses had a wide range of clients from 59 industry categories. the individual level. Quality of life, family and friends, being from the Here they are grouped in nine broad categories. The spread is relatively region or wanting to stay having come to study were cited by three- even suggesting that these design businesses operate right across the quarters of respondents. The identity of the region, it’s reputation economy of the region. for business, the availability of employable talent, opportunities for knowledge sharing and exchange, having similar businesses nearby: these were mentioned by relatively few respondents.

A

H

C

L N

E

C

00

2 C 0

2

2

0 1610 L 21

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C H 1610 12

10

1120 A H E

C 10 11 11

11 H 10

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H LCAE NE HEE N HCH EC AE AN CLEN AE CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Findings / The Design Businesses

How does your business find its potential clients? What are the main sources of finance for your business? Personal contacts, referrals, recommendations and word of mouth Three quarters are either self-funded or resourced by revenue and account for three-quarters of responses. This suggests a self-contained, profits from their own activity. A small number are financed by a bank, self-sufficient environment whose members are reliant on their fewer have outside investors, which includes friends and family. The reputations, their contacts and networks. Relatively few number of businesses benefiting from national, local or government respondents recorded methods for actively seeking clients. funding schemes or tax concessions is also small.

R&D Corporation Tax Credit

National Funding Bodies

Alternative Finance SME Funding Schemes

Other Government

Funding from Investor

C C

00

60

1

1 1

A 2

FriendsInvestment / Family by 0

210

Bank Finance

10

Pro ts / Revenue 2

20

20 Self Funded by Director

C

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H E NE N ENAL CLEN 45. WHAT ARE THE MAIN FINANCE SOURCES FOR YOUR BUSINESS? CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Findings / The Design Businesses

LARGER BUSINESSES One aerospace engineer OUTSOURCING TO AGENCIES To expand the results from the online survey, we undertook telephone described how cyclical Half of the sample used agencies for outsourcing design work. interviews with a smaller but focused sample of 29 companies in the change in the way that large Of these all but one also had an in-house design capability. Bristol and Bath region. A large majority of the businesses had been companies operate requires established for more than 10 years. companies within the supply Reasons for using outsourced agencies were: chain to be flexible Company turnovers ranged from £101,000 to over £2 million. ‘the big companies are ++ Getting help with larger pieces of design work Nearly 33% were between £501,000 and £1million, and quarter 25% outsourcing more and ++ Need for a short-term increase in capacity, between £251,000 and £500,000. Two were in excess of £2million. more stuff, so there’s specialist knowledge or expertise lots of small little design ++ Cost effectiveness Sectors covered firms, little engineering Building/Construction 5 firms… It might have USING FREELANCERS Branding,Print/Digital 5 been engineers that Well over half (59%) of the companies used freelancers for design Engineering/Manufacture 4 worked in Airbus and work. A majority of these also had an in-house design capability. Content, Music/Film/Publishing 4 then left, and then set Software, High Tech 3 up their own little studio, Reasons for using freelancers were: Architecture, Landscape 5 working on a specific Not-for-Profit, Community 3 aspect of the fuel system, ++ Providing resource to give capacity to meet deadlines or something like that, ++ Providing specific skills or specialist knowledge when needed The business of all companies involved design in some way. We asked and then Airbus will, ++ Cost effective how design activity was organised and integrated into the enterprise. you know, outsource ++ Freelancers tend to provide a focussed service this to various people. IN-HOUSE DESIGN TEAMS But they go through Companies found the freelancers that they used mainly by word A large majority (86%) of the companies had an ‘in-house design team’, phases. So sometimes of mouth, reputation or personal recommendation. Often they had although not everyone working in this team was in a full-time design role. they outsource been previously employed, used or were known to the organisations. Over half the organisations with in-house teams had 25% or fewer everything and then Over half said they had a preferred list. The rest were open to using employees doing a designer role. This percentage increased for sometimes they bring it new designers for each new project. companies where design was a core element of their offering. all in-house. So, it keeps everyone on their toes! Other sources of information mentioned were: For a majority of these businesses design was a core competence within their company and this was the reason for the in-house team. ++ Agencies, magazines and trade media Other companies’ reasons for an in-house team included: needing close ++ The Design community contact with developers, having control of the product, cost saving or ++ Bristol Media cost effectiveness, quicker reaction time to customer needs. ++ Speculative applications from freelancers

Design work done by in-house teams ranged from simple promotional Freelancers were reported as used for: material to very sophisticated designs for structures, spaces, machinery and landscape architecture. ++ The same work as the in-house team – so adding capacity ++ Similar work to that undertaken by the in-house team and Designers tended to live locally. 83% of the companies with an in-house outsourced agencies team stated that their designers live in Bristol or Bath. ++ All design work for the organisation ++ Specialist skills not covered Average remuneration for a Junior Designer was £24,108 per annum. Salary bands selected by respondents ranged between £10,400 and £36,399 per annum. Average remuneration for a Senior Designer was £37,859 per annum. Salary bands selected by respondents ranged between £10,400 to over £52,000 per annum.

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Findings / The Design Businesses

WHAT IS SPENT ON DESIGN? Almost half of the companies (14 of 29) estimated that they spent If you want to make new things, between one and ten percent of their total expenditure on design. Respondents were then asked what percentage of their turnover is entrepreneurial things, then you design work that they bill out to clients. Respondents experienced some difficulty in answering this question. This included: do have that support. You wouldn’t ++ Some uncertainty over what was meant by ‘design’. ++ Some confusion over what was meant by ‘billed out’. get it in London, so if anyone’s Half of the companies interviewed said that they included all design work in the cost of the product or service their organisation provided. It was not costed or billed separately. starting up a business or wants Respondents also raised the fact that some design work was speculative in prospecting for business so ‘billing’ was not involved. The cost to the to try to do something a bit new, company of design in this kind of activity was not calculated separately. The evidence from this sample of companies suggests a lack of I’d suggest they left London and understanding of the importance of considering design costs as part of the overall cost to clients or customers of the products or services being provided. then went to Bristol. THE VALUE OF DESIGN TO THE COMPANY – Book Designer, Bristol With the exception of one company, all of the companies in the sample thought that design helped to increase their turnover. However they had no precise quantified idea of the financial value this represented.

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Findings

ENTERPRISE IMAGING How do Designers and Enterprise Images are described as ‘epistemic objects’ as they capture knowledge that is created in the process of discussion. The process Design Businesses Work? of constructing an Enterprise Image draws participants into evolving conversations that explore the enterprises in which they work.

To look in greater depth at the role of design in the region we We used the Enterprise Imagining tool (Mills, Purchase, Parry, 2013) to wanted to gain a detailed understanding of how designers and map and create visualisations of complex networks. These visualisations enabled us to see how different types of resources interact in design- design-led companies in the Bristol and Bath region operate to related enterprises to create value in the form of a product, service or create value. experience. For our purposes resources included skills, knowledge, people, tools and materials.

We used Enterprise Imaging as a tool in extended interviews It is the ability to effectively co-ordinate a wide range of resources that creates value propositions, which in turn provide businesses with 48 companies, selected to represent the range of design with their competitive edge. Value in this context, is created within the activity in the area. interactions between participants and as a result of their relationships.

Enterprise images were made in partnership with designers as part of the in-depth interview process. Designers were asked to describe one project they had worked upon and provide details about how they initially made contact with the client, the roles of other employees from within their company, the resources co-ordinated by the client and any other third parties involved in the project, for example printers, specialists or online social networks. The process was also applied to identifying the resources involved in the distinct types of activity that design companies are engaged in: design, pitching for work, consultation, event production and innovation. Interviews lasted 60 to 90 minutes.

In total, 48 images were completed and analysed. The majority of the images were made with SME and micro companies, with only three made with large companies.

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Findings / How do Designers and Design Businesses Work? E

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CLEN

A

INTERPRETING THE IMAGE >> Enterprise Image: Front and back offices Key AC CE ECE The Enterprise Image is divided into three sections. The white central Visible to client or provider area – the front office – represents resources visible to both designer and client.

The blue areas above and below the front office represent respectively the client’s and the provider’s back offices, which are invisible to the other party. N CE CE EE CE Front-office resources VisibleV to both client and provider Partnered Direct: Resources visible to both client and provider and usually managed by the provider. Examples: a television programme, an app or website.

Collaborative Direct: Resources are visible to both client and provider and managed by a collaborative team. Examples: a pitch to design a building delivered a collaborative team of architects and engineers.

Non-partnered Outcome Focussed: Employees of, or resources owned C by either the provider or the client. Visible to both client and provider, usually managed by provider

Customer Voice: Representing the customer. Examples: lobby groups, societies or residents’ associations.

Third-party Direct: Third-party contractors may be coordinated by or be responsible to the provider or the client. Examples: Printers, freelancers, specialist. Enterprise Images C by company size: Customer representation Third-party Indirect: Usually independently managed and not Sole Traders/ directly engaged in contracts but with a direct influence on outcomes. Freelancers: 12 Independently managed and not directly engaged in contracts but have a direct in uence on outcomes Examples: social media, a gallery, an individual who acts to connect a Small/Medium designer to a client. Enterprises (2-250 Contractors co-ordinated by/responsible to client or provider

employees): 29 C N Back-office resources Large Companies Employees of, or resources owned by client or provider Internal Support: Employees who have no direct contact with the client. (2500 employees): 7 Examples: accounting and IT support. Co-ordinated and managed directly by client or provider

Third Party: Resources contracted solely by the client or provider. Contractors responsible solely to client or provider Examples: art worker, material suppliers, accountant. G Those who determine the resources available and dictate their co-ordination Governance: Those who determine the resources available to a company and dictate their co-ordination. Examples: board of directors, holding company, local council or government department. Although not necessarily aware of the detail of the operations, as decision makers E they assert a great impact upon the outcome.

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Findings / How do Designers and Design Businesses Work? EGNAL E ANG EHN N AAN

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A SOLE TRADER >> G The client, a Japanese gallery, became aware of the potter’s work Enterprise Image: through the Crafts Council shop at the Victoria and Albert Museum, Regional Potter London. (V&A) The pots were designed and produced by the potter in Making Work for C his Somerset studio using raw materials sourced from local and national Exhibition in Japan N suppliers and then transported to Japan via courier. The network is both nationally and internationally based and the importance of formal third O parties indirect is very clear. The transaction is reliant on two national institutions (Crafts Council and V&A) for representation of the potter’s work and as a link between the potter and the client. That Crafts Council shop in the V&A. It was such a shame that they got rid of that. A lot of people still say, ‘I saw your work at the V&A’. That’s where the gallery first saw it. I still get people saying that… it shows the importance of an institution like that. C C A – Potter, Near Bath

Freelance designers and sole traders Enterprise Images created with freelancers included: a potter making work for an international exhibition; a graphic designer designing a set of postcards for a national artist; and a screen-printer producing a poster for a regional design company. Over half of freelancers’ clients E were based in the region, the rest were evenly distributed nationally and internationally.

In the same way that the Crafts Council shop at the Victoria and Albert Museum, London was an important resource for the potter, we revealed the importance to a freelance illustrator of an informal social space, a pub, in the centre of Bristol. She made contact with her client through G exhibiting her work there. In both examples, the third party indirect resource – the museum shop and the pub - played a crucial role in giving M A visibility of the designer to the client; this led to a connection between them. In these cases the value of the third party indirect to the economy is greater than the profitability of the shop or pub alone.

E In the region, we found, freelancers and sole traders function in three main ways: They manufacture objects for consumers, and they provide specialist and support services to regional design and non- design related businesses. They are at times vital to medium and large companies in the region. Although small in size, freelancers can nevertheless be large in significance; their value is greater than might be suggested by their turnover and profitability. Those with an international standing also boost the reputation of the region.

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Findings / How do Designers and Design Businesses Work? ACAGNG CAN EANE CEAE AGENC

Regional National London International O

ACAGNG CAN

SMALL AND MEDIUM SIZED ENTERPRISES >> G This complex project involved five non-partnered contract focussed Enterprise Image: employees from the design agency with additional internal support Packaging Company Packaging Company C from designers and administrators. A third party regional animator and Re-Branded by printer were coordinated by the non-regional client but selected on Creative Agency N Marketing Commercial recommendation of the creative agency. The role of the designer was Director Director therefore broader than their design skills, as it involved the trust that the client had in them to provide guidance and access to the designer’s regional network.

Printer Printer They trust us to say, ‘actually, these are really good printers’. Or ‘these are really good X, Y and Z’, and they go, ‘oh, all right, cool’. A Because they don’t necessarily have the experience of dealing with printers so they would take our point of view on the guys in Bristol – Senior Graphic Designer, Bristol Small and Medium Sized design companies Enterprise Images mapped included: a production company making R P a film; a design agency creating a new brand design; and a product design company designing and manufacturing giftware.

Small and Medium-sized design companies in the region are involved in the design of a broad range of complex services and products. Their clients are mainly nationally based SMEs and large companies.

SMEs have internal support resources (employees) in administrative Marketing Consultant and management roles. In all cases designers are placed in a central role, Account Director communicating directly with the client to understand their needs and co-ordinating third parties. The role of the designer is broad, involving A C Strategy C Director communication, co-ordination, developing trust and offering access to Finance Director C the skilled regional network. N C SMEs also make use of a regionally based pool of freelancers. Tra c Manager Freelancers can be: those who have specialised skills and those Copywriter who can take on basic tasks when a company has a heavy workload. A Regular use of freelancers allows design companies to expand and contract on a project-by-project basis, gathering a team of appropriately G C skilled workers as needed. The use of freelance support is essential A to operations, particularly for TV, film, animation companies, events companies and design agencies.

CEAE AGENC

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Findings / How do Designers and Design Businesses Work? CN EE NANAL CHANNEL

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LARGE COMPANIES >> G This large production company in this Enterprise Image differs from Enterprise Image: the small and medium-sized companies as it is governed by a larger Production of Series TV media group, to which it is accountable. Unlike other enterprises, for National TV Channel C front office communication is only between provider and client, N thus suggesting a high level of trust in the production company’s L selection and coordination of third party services. It has internal support P B management, financial and administration roles, and relies heavily on regional third-party back office support services to produce and deliver the finished product. While design is considered important to the success of the enterprise, the two design roles conduct their work in the back office and as such are not visible and have no contact with the client. Despite this lack of prominence, the non-designer interviewee from the firm stated that design was essential to the success of the project. TV

[Design is] extremely important. Because it’s about the look. And, after all, we’re doing a visual medium…And it’s extremely important that the creativity is at the right level and they instinctively know how not to bedazzle your eyes and what the look is. And that all comes from talking – what’s the project, what are you trying E L PP B to portray. Come away with a few illustrations and visuals and, C N if everyone likes it then it’s fantastic, we’re doing it, you know, P we’re just doing it.

– Producer, TV/Film Bristol C P A F M Large Companies A P Enterprise Images involving large companies in the region include: P M a ship design company designing a ship for an international G P government; a production company making television programmes R P P for an international broadcaster; and a conservation organisation P using its in-house team to design a visitor attraction. V O PP A Large design companies in the region are involved in the design of P R complex, large-scale products or services for sizeable national and international client companies. Large companies are often governed M G PP by a national or international group, to whom they are accountable. They have high levels of employment and provide work for regional, specialised design-related third parties. They attract international and national money into the region. CN CAN

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Findings / How do Designers and Design Businesses Work? CLLAAE CH EGN NENANAL CLAL CENE

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HEA AE

MAKING A PITCH >> G The image shows the collaboration of a regional architect with a Enterprise Image: regional landscape architect and a regional engineering company to Collaborative Pitch for C pitch for the design of an international cultural centre. In this enterprise Design of International all design activity is undertaken in the region. Senior designers have Cultural Centre N contact with the client and draw together a team of in-house and A third party back office specialist support services to deliver the pitch. Specialist services, consisting of communications and a historian, are sourced where appropriate, which in this case was in London. E So we say, ‘OK, who are we going to work with on this project?… we really want to have fun with this and be very creative’. So we A go to the top creative landscape designer in the country, who lives [nearby]…and then we also we need someone who has got a lot of experience in the Middle East, and an engineer and so we go to [local engineering company] for the service and structure of the building...so there we’ve got the basis of a team because, in order C to do a design of a building, you need architecture, service and engineering, structural engineering and landscape. P I – Architect, Bath

Making a pitch Many designers in the region are pitching for new business in collaboration with other design-related companies. Examples included an architectural practice pitching for an international visitor centre and A E an engineering consultancy pitching for a national visitor attraction. C C These were large complex projects which demanded collaboration A L N A with third parties of equal reputation from different disciplines. Opportunities to pitch are advertised by indirect third parties, such as industry publications and websites. G

A C

A E G L C A

ACHECAL ACCE

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Findings / How do Designers and Design Businesses Work? CNAN EGNAL EGN AENCEH

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CEAE AGENC

CONSULTANCY >> G This images was made from the point of view of the partnership Enterprise Image: manager, an advisor connecting regional apprentices with the regional Co-ordination of Regional CC C design company for whom she works. The industry skills body in this Design Apprenticeships A case were setting up and coordinating design-related apprenticeships N for young people in the region. The apprenticeships were advertised through online indirect third parties and provided with additional R M training from a non-regional college. The advisor has back office R internal support for IT and website maintenance.

We noticed that they were advertising these jobs all the time. We contacted to say, ‘We notice that you’ve got this skills shortage, can we come and talk to you a bit more about it? Where are you looking? What are the challenges? Why are you recruiting locally?’ A We then at that time, had also developed an apprenticeship around interactive design and development… They’re a very respected organization in the city, they have vacancies, they didn’t seem to be filling them, we entered into a dialogue.

Consultancy E A Consultants interviewed were in non-design companies working N A T to connect designers to clients and employees. Examples include a regional advisor connecting a high-tech company with design companies and an advisor connecting regional apprentices with a regional design company. The consultancies were funded by A national government and international (ERDF) funds. C I B A In both examples consultants play an important role connecting designers with clients and employees they may never have otherwise C made contact with, increasing the size and diversity of the network. P M N

IT

A

G I I

N LL

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Findings / How do Designers and Design Businesses Work? EGN AN CN EGNAL EAL AGE EEN

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EAL

EVENTS >> G The event production company has internal support roles for Enterprise Image: administration, operations management and construction. Design and Production C F All back office third party design services are regionally based. of Regional Festival’s N A large number of third parties are co-ordinated by the company Staged Event E in the back office for construction and design, and in the front office O for performance, production and catering. It is a complex operation.

If we want to do something, we know all of the people we would need and we can put them into action really quickly and we can do some really great things. I don’t think we could find that anywhere else in the country or in Europe actually. It’s really special. P – Event production designer, Bristol

Events Event production companies in the region are involved in the production B H of staged events for regional, national and international festivals. F These companies have few internal employees but offer a high level M of employment to regional freelance designers and national and L E E international performers. Directors of the companies felt that the LE region was unique in that it contained the all the necessary people and skills to deliver events at an international level. LE P M

C N O ce Manager Accountant Operationstion Receipts Facebook Manager Posts Catering E

C M M T M M V

E G C

EEN CN CAN

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Findings / How do Designers and Design Businesses Work? LAN EGN AN CN NE LCALL CE CLH

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ENAL CNE

INNOVATION >> The image shows plans for the design and production of a new, locally Enterprise Image: sourced cloth by a small textile organisation. The back office has a Plans for Design and volunteer providing internal support and a third party website designer Production of New, based outside the region. In the front office the founding director Locally Sourced Cloth and the special events manager (Contract Focussed Non-Partnered) coordinate third-party regional designers and suppliers. The most significant resource is the third-party indirect: universities, museums, T P social media and networking forum, who provide opportunities for the sharing of knowledge, funding and publicity.

If you want to make new things, entrepreneurial things, then you do have that support. You wouldn’t get it in London, so if anyone’s starting up a business or wants to try to do something a bit new, I C O N I’d suggest they left London and then went to Bristol. T M M

Innovation Examples of innovation in the Enterprise Images include the A development of new products and services by freelancers and SMEs; included the establishment of a research and development department L in a non-design related company; textile design and production; the design and production of an accessory for a high-tech product and the I P design of an app.

Innovation at this scale utilised a significant number of indirect third parties including universities, co-working studios, training providers, C trade events, guilds, networking forums, creative industry support E N M organisations, the Arts Council, and other design-related companies, all of whom contributed support in the form of funding, mentorship, opportunities for knowledge exchange and publicity. Innovation does not happen in isolation, but requires the support of multiple resources. G

ELE GANAN

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Findings / How do Designers and Design Businesses Work?

CONCLUSIONS Having the freelance team All design companies place the designer in direct contact with the Enterprise Imaging shows that designers and design companies are not means that we can employ client. It is the designer’s role to understand the client’s needs, and to creating goods and services in isolation, but are working in relationship more people, we can build communicate these to all the other design-related parties involved in with a number of regional and non-regional companies and individuals up the skills base better, the enterprise. The ability of design companies to manage relationships to create value. we’ve got more flexibility with clients, Third Parties and Indirect Third Parties is an essential factor to do different things and in determining the performance of design companies. Regional design companies work mostly business to business, providing offer different solutions for services to a broad range of industries including international government people – gives us that kind All three sizes of design companies in the region have interdependent departments, broadcasters, retailers, universities, county councils, high- of production muscle. Which relationships. Freelancers and micro companies provide design support tech companies, and other creative businesses. Design in the region is not is unusual. And I would say to each other and to larger design companies. dependent on one geographical market location or on one single industry, we’re probably one of, maybe, but thrives instead on the diversity of markets it is able to access. four or five studios in the Third party resources not directly involved in a project, but who play a country that can do that. crucial role as connectors, enabling designers, collaborators and clients – Animator, Bristol to be visible to one another, are centrally important to design. They may be formal, professional organisations, online networks or informal networking places such as exhibition spaces, retail outlets, co-working hubs and social spaces. They can also facilitate the sharing of ideas and expertise as well as offering facilities such as workspace or equipment.

Innovation in micro companies requires a high level of third party support for funding, provision of workspace, mentorship, opportunities to share ideas and experiences and an environment where failure is permissible.

The Enterprise Images show that in many cases design-led companies are project-based organisations. Although they focus on one core specialism, they have a network of third parties they can draw upon according to the client’s needs. Many interviewees, across all sectors, cited the regional network of flexible, highly-skilled companies and individuals that can be relied upon to deliver a project, as well as a strong community of people that are open to ideas and ventures, as key reasons for success and for remaining in the region. This connectivity is significant to regional design- led companies’ increased level of productivity.

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Findings / How do Designers and Design Businesses Work?

CASE STUDY: We specialize in the discipline of THE DESIGN PROGRAMME

Between 2006-2016, The Design Programme Independent evaluation of its most recent landscape architecture but we (TDP) helped small businesses to increase large scale project, Less=More4, showed value through interactions with professional that TDP helped its client businesses increase designers. TDP provided one-to-one their Gross Value Added by £19.6 million; collaborate with a wide range mentoring of businesses to prioritise their created 53 jobs; and created a return of £8.91 goals and co-write a design brief. The brief on public investment for every £1 spent. was sent to at least three design suppliers. This project worked with 110 businesses in of disciplines from structural Mentoring continued throughout the design the South West region (excluding Cornwall) project, with the small business taking over a period of 3.5 years. the lead in choosing the final supplier engineering, civil engineering, and managing the design project. The most common benefit was in generating new markets and sales. More than a third Further support included advice on websites of businesses reported that growth was architecture, graphic design. and communications; redesigning or creating as a result of improvements to branding and brands; developing products or services; communications, and access to new networks. developing packaging solutions; identifying We have the landscape design trends and customer needs; and introducing The Design Programme approach also led sustainable practices into the design and to an additional £562,000 spend on design, marketing process. or an average increase of 67% by each and graphic skills in our team but business, in the South West region. This finding The businesses found that design gave them also shows the benefit of TDP to the design measurable results such as bigger market industry in the South West, creating significant we’re often working as part of a share, increased profitability, increased profile, value and additional work for designers. effective communications, production savings, increased customer loyalty, targeted product Businesses felt that good design was the multidisciplinary team to deliver development and, sometimes, complete catalyst that propelled a business forward, business transformation. or fast tracked a product to market. projects to clients. – Landscape Architect, Bath

4 The Art of Balance (2015) Evaluation of The Design Programme, Design and Innovation for Business Sustainability 2.

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Findings

What is Important to Designers Table 1 – Interpreting IPA and Design Businesses? Possible Excellent Performance Keep up the overkill good work Over the course of the project our understanding of what designers thought was important to them and to the success Quadrant IV Quadrant II of design in business grew and developed. Low High Importance Importance Previous sections of this report provide information about the designers and the design businesses in the region. Here we Quadrant III Quadrant I identify from the data aspects of living and working in the region that are important to designers and design businesses. Low Concentrate priority Fair Performance here

IMPORTANCE-PERFORMANCE ANALYSIS (IPA) IPA is an evaluation tool that enables a graphic representation of the relationship between importance and performance in a given area of Quadrants Implications activity. For example an aspect of the design sector, such as high speed From the range of analyses internet, may be of high importance to the designer, but may not be of Quadrant I Attributes are perceived to be very important to undertaken using IPA we have performing well in the region. Concentrate respondents, but performance levels are fairly here low. This suggests that improvement efforts in the chosen four to illustrate the ideas and perceptions of the Using IPA to analyse the survey data enabled us to look at the region should be concentrated here. designers who took part in performance of a number of attributes in relation to how important Quadrant II Attributes are perceived to be very important to the survey. they are for the designer and design industries working in the region. Keep up the respondents, and at the same time, there are good good work levels of performance in these areas. The message In each case the coded here to the region is to keep up the good work. attributes are listed and Quadrant III Attributes here are rated as having low importance plotted on the grid to show Low priority and low performance. Low performance should the respondents views of not be a cause for concern, since the attributes in their importance to them this cell are not perceived to be very important. and the current level of their Limited efforts and resources should be expended performance in the region. on this low priority cell. Quadrant IV This cell contains attributes of low importance, Possible but where performance levels are perceived as overkill relatively good. Respondents are satisfied with the level of performance, but it is possible that additional effort and resources focussed on these attributes would be superfluous/unnecessary.

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Findings / What is Important to Designers and Design Businesses

What is important to you as a designer?

Possible Excellent Performance Keep up the Possible Excellent Performance Keep up the overkill good work overkill good work 6 1 6 4 10 5 8 7 5 9 2 Low High Low 9 High 8 2 Importance Importance Importance 1 Importance 3 12 7 4

13 3

12 10 11

Low 11 Concentrate Low Concentrate priority Fair Performance here priority Fair Performance here

Attribute Number Of the twelve coded attributes respondents Attribute Number Quality of life is the most important factor 1 Working with skilled and supportive said that working with skilled and 1 Quality of life for these designers, yet their view is that colleagues knowledgeable colleagues was extremely region does not perform above average 2 Design-related communities important and the region was performing on this attribute. The region should focus 2 Creating new relationships with other well in providing a skilled workforce to match 3 Art and cultural facilities efforts on identifying issues to enhance professionals this. Also important were access to arts and 4 Inter-city transportation designers’ perception of this aspect in order 3 Openness to new ventures cultural activities, open and friendly places to retain them in the area. From the social 5 Tourism / leisure 4 Access to arts and cultural activities and support from family and friends, all of point of view, respondents felt that tourism which were being met in the region. Areas of 6 Social networks and leisure and design-related communities 5 Places that are open and friendly importance to the designers which needed 7 City identity were important and they were reasonably 6 Support from family and friends to be improved and strengthened were in well provided in the region. Important and 8 Public funding and services for business 7 provision of opportunities for new ventures not performing particularly well, so needing Making useful contacts through informal support social activities and facilitating making new relationships attention, are inter-city transportation and with other professionals. Making contacts 9 Private funding and services for business arts and cultural facilities. Social networks 8 Having locally based friends for accessing through formal events, involvement with support are seen to perform very well in the region business opportunities professional organisations and membership 10 Job opportunities but are only of average importance. 9 Acquaintances of associations and institutions were not 11 Close to friends / family 10 Involvement with professional seen as performing particularly effectively organisations but were seen as relatively low in importance. 12 Working spaces: offices / studio 13 Entrepreneur networks / support 11 Making new business contacts through formal events 12 Memberships to associations and institutions

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Findings / What is Important to Designers and Design Businesses

How good are these aspects of our region? What is important to your business?

Possible Excellent Performance Keep up the Possible Excellent Performance Keep up the overkill good work overkill good work

2 6 5 4 1 8 15 10 12 Low High Low 14 8 High 3 1 Importance 11 Importance Importance 16 11 3 Importance 13 5 7 7 4 9 10 6 2 9

Low Concentrate Low Concentrate priority Fair Performance here priority Fair Performance here

Attribute Number Respondents said that creating new Attribute Number The pattern here suggests that the 1 Creating new connections through connections through informal social 1 Quality of life region is performing well on things that informal social activities activities, connections with local firms, are less important to the respondents 2 Local clients and market and reliable social media platforms were and their businesses but relatively poorly 2 Connections with local firms all important to them and they felt these 3 Design related communities on things that are more important to them. 3 Availability of skilled workforce were being delivered in the region. 4 Art and cultural facilities / events Respondents considered that local clients 4 Providing a skilled workforce was also and market, design-related communities, Reliable social media platforms 5 Working spaces: offices / studio important to them and the region’s arts and cultural facilities and events, 5 Having previously existing friends performance in this respect was no more 6 Social networks working spaces and the city and regional or family locally than average. The region des perform well 7 City / region identity identity were all important to their 6 Easy to find business supporting services on building up new business relationships businesses but were not performing well 8 Location proximity to supporting 7 through co-working spaces but this relatively in the region. The region is doing reasonably Extend connects through formal services / industries social activities unimportant to the respondents. well in meeting needs for being located 9 Inter-city transportation near to supporting services and industries, 8 Build up new business relationships 10 and providing social networks which are through co-working spaces Entrepreneur networks seen as quite important. However the 11 Tourism / leisure 9 Memberships of associations provision in the region of entrepreneur and institutions 12 Recruitment opportunity networks, recruitment opportunities, 10 Involvement with professional 13 Public funding and services private funding/services for business organisations for business support support, and locations close to similar firms, which was seen as above average, 11 Close to the similar companies 14 Located close to similar firms was considered relatively unimportant. 15 Private funding and services for business support 16 Other

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Findings / What is Important to Designers and Design Businesses

CONCLUSIONS As we noted in the section on research methods, the respondents to It’s the ‘Aha’ of seeing, when you the online survey represent a specific aspect of design in the region: a majority are working in micro businesses and are relatively well- established in the region. Some of the outcomes of the IPA analyses had all these analytic types, all appear to reflect this particular perspective. However many of the perceptions and views that emerged from the analyses echo what we also found from other sources. these researchers, scientists, For designers, especially those working freelance or in very small businesses, the personal and the professional are often closely technicians, technologists… intertwined. Quality of life, in both spheres, is very important, as is the availability of support from family and friends. Interview data suggest that this support may be emotional, practical or financial endlessly trying to sort of nail and can be a determinant in whether the design work happens. Working with skilled and knowledgeable colleagues is important to the model or the proof of it; designers and this does not seem to be an issue, given that 83% of those responding were satisfied or very satisfied with their work situation. In relation to opportunities for new ventures and making new and then you bring in a designer, relationships with other professionals, also important, the region is not performing well. Informal, personal networks are working well but little exists to support expanding and moving beyond these. Formal events, a product designer, or an membership of professional groups or organisations is not as important to these designers as more informal gatherings and networks. Effort and resource spent developing more formal ways of association and anthropologist. You saw a whole communication could be wasted. Important to their businesses were different aspects of the context different chemistry, which could and environment: a strong city and regional identity, local clients and market, design-related communities, availability of working spaces, good transport links. These were not performing well in the region. be quite combustible, because they Similarly the provision of arts and cultural facilities and events is satisfactory at a personal level but in relation to professional or business interests these were seen as performing less well. came from such a different angle. Interestingly, private and public funding for business support are only slightly important to respondents. This may be because they are seen as But where it worked, where you irrelevant or unachievable. Two thirds of respondents said they would like more information about sources of funding. got those two [sorts of] people to work, it really sang. – Hi-Tech Consultant, Bristol

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Findings

The data on diversity within the sector perhaps also argues for it being What Could be Done to Enhance opened up. the Design Industry in the Region? It was felt that while the informal networks in the region were good, the design network could be improved with the provision of more opportunities to meet, greater visibility and easier points of access This question was asked of survey, interview and focus for those without a pre-established connection. Several respondents group participants. suggested an online database for:

better access to pool of designers / more centralised contacts or Many designers felt there were good things already happening, specific online community and the region was doing well. However they were alert to the The central importance of networking to the success of design region’s capacity for development and were full of ideas for how this enterprise is clear in the research: it is the key to finding work, finding clients, getting jobs done, collaboration, communication, learning and might be achieved, of what was important, and how they and others sharing. One rurally based freelancer commented: might contribute. Their areas for focus related to areas identified in It’s not really money I need, it’s connections, that’s what you need. the IPA analysis, as important but needing development. I suppose it’s connections to people who I can work for, in the long run, rather than funding bodies. OPEN UP AND STRENGTHEN THE NETWORK The most frequently suggested action was to: A STRONGER IDENTITY FOR THE CITIES AND MORE COLLABORATION ++ open up and strengthen the network, The process of opening up and strengthening the design network was associated by the designers with suggestions for a range of Given the evidence from our sample of designers that they recognised different activities. Many of these were linked two other areas the ready availability of all kinds of networked assets to the design identified for development: communities in the region, it may seem strange that they are suggesting this as a route to enhancement. Indeed, some respondents ++ a stronger identity for the cities and the region as a location to this question were very satisfied with the status quo. However, of design excellence; others pinpointed ways in which the sector could make its networks ++ greater collaboration and communication within and between stronger and more open. Some younger, newer arrivals on the scene different companies and agencies involved in design (including thought the networks were difficult to access and appeared to be education), in and outside the region. finding it harder to break into well-established, successful social and professional groupings. There were also senior designers who described In both Bristol and Bath there was felt to be a need for greater visibility feeling isolated and who felt they and others would benefit from of the design activity in a region where some companies operate contact outside their immediate environment. internationally but have little contact with other local design companies.

There are a great deal of senior designer/creative director level You see it as a disappointment now when you see a great business business owners that work on their own and could probably benefit but they’re just not connected locally. You think, ‘They could do better, from working in a wider creative environment. We all need a little but also the ecosystem could do better if they were more connected’. creative inspiration and sounding boards, etc. Why not an ongoing set up… a general approach that is agreed on by those involved, One Bath-based respondent thought the council could take a stronger but could also spring projects that are linked with [a university]… role in showcasing design in the city: putting on talks and workshops. underneath the skin of all the little companies at the end of little cul- de-sacs or behind Georgian facades; it is amazing what’s going on here.

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Findings / What Could be Done to Enhance the Design Industry in the Region?

There were very many suggestions for more events. For some this took If you work too much in a silo, it’s very hard to have new ideas, the form of a design festival that would act as a beacon for design, you just keep regurgitating the same one, so as much influence attracting new companies and individuals to the region: that you can have from the outside as possible, so you get that obviously from music, from television, from galleries, from meeting an annual or triennial big event about design industry and arts people. But also I think, you get it from other design disciplines. held in the region like a design week or the biennale of St Etienne (France). It would involve and bring together professional designers The benefits of interdisciplinary collaboration where articulated by one (from inside and outside the region) and students. With workshops, high-tech designer: conferences, awards maybe? It’s the ‘Aha’ of seeing, when you had all these analytic types, all I think that having a festival of design of some kind where…. I think these researchers, scientists, technicians, technologists…endlessly you’d have to pull some really big names from all over the world, from trying to sort of nail the model or the proof of it; and then you bring New York. I don’t know how easy that is, I don’t know how possible that in a designer, a product designer, or an anthropologist. You saw is, how expensive it is, but I think anything to put Bristol on the map. a whole different chemistry, which could be quite combustible, because they came from such a different angle. But where it Other types of events showcasing design in the region were suggested: worked, where you got those two [sorts of] people to work, it really sang. Regional design events / open days / opportunities to meet and find out more about who is doing what locally. DEDICATED FLEXIBLE HUBS. Craneworks, Bath, a proposed interdisciplinary space for arts, science But also events that are practical, cross-disciplinary and would provide and technology has been envisioned by a team comprising figures designers with support and creative stimulation. It would: from the city’s leading design companies, universities, entrepreneurs and other not-for-profit organisation. The space would offer office and help to create design communities across and within disciplines, studio space, making spaces, education and exhibition and conference where business relationships can be explored, problems can be spaces as well as skills training and a cinema. The ambition is to create a solved and help and people found. hub for SMEs in the creative, digital and tech sectors and to make strong links with the local community, providing ‘an exciting, inspirational Opening up the design sector to the wider community was seen as and inclusive environment for the development of hybrid creative, potentially mutually beneficial. technological and practical making skills in people of all ages’.

…more of a forum to talk about things like processes, and how times - Plans to locate Craneworks in a former industrial building on the South you know, how things are changing, technology’s changing. About ties Quays have now fallen through but efforts are continuing to find a way to with universities, or what we could do locally. My gut feeling is that a lot make such a space happen. Throughout our study, Craneworks has been of what ends up actually happening with things like [names networking repeatedly cited as important for Bath as a means to sustain and grow the group] is, it starts to feel more like networking than actual real, intrinsic city’s creative industry, providing three to four hundred affordable work value to design practitioners, or the wider community, like universities, spaces, a cultural centre for young people and a stimulating environment colleges, schools even, you know…I’m sure there’s like room somewhere that could assist in retaining graduates and preventing companies from in the middle for something that is more practical, for designers in the relocating to less expensive sites in Bristol and the surrounding rural area. area to learn, to get inspired, and to also give a little back, whether it be community, whether it be schools, universities, you know. Craneworks, I would love that to happen, there is the potential for a fantastic creative hub in the middle of Bath. That would send out a Opportunities like this for interdisciplinary collaboration in conjunction very strong message to the region that this a really vibrant, exciting with the region’s universities and schools were repeatedly called for and creative place. I don’t think there is enough of those sorts of and considered essential for innovation. There was disappointment hubs in Bath. More and more people are working on their own or that plans for the Dyson School of Design innovation in Bath were in small teams and they want to get together with other people. abandoned although there was a willingness among designers to be That is how ideas happen, that is how creativity happens. involved in such a project.

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Findings / What Could be Done to Enhance the Design Industry in the Region?

Craneworks in Bath needs to happen. Sort out the BANES, Bath & One small textile company considered the receipt of rates relief had North East Somerset, council who don’t seem to prioritise creative enabled their growth, whereas a well-established animation company business at all. Wiltshire has public art officers, Bath doesn’t seem found the regional support for the creative industries inadequate. to have any interest, or if they do I haven’t come across them. Bath needs make spaces, where anyone can go to use equipment Well, the Council I think is woeful in its support of creative industries. and socialise, learn, mend things, make things. I think they really are unfocused. They’re, they’re swayed by the kind of uh the bright lights. So, if it’s like, you know, a digital online app, AFFORDABLE AND APPROPRIATE STUDIO AND OFFICE SPACE it’s – that’s fine, you know, that’s – ‘Hey! That’s modern!’ But then you Another area for priority identified by designers from Bristol and Bath think, well, OK, we’re an existing business, we’ve got thirty years of related to the provision of affordable space and space that was of trading history, we’ve done well, we’ve got a name for ourselves in appropriate size, shape and location. Some remarked on the need for the industry. What help do we, can we tap into? Our help comes from more spaces that allow for interaction: Creative Skillset in London, Media in Europe. We get nothing from But office space is probably the one thing that holds us back. And, the region. We get nothing from the Council. we, we’ve got this building but we’re cramped, you know, so much of the space that people are in is converted Georgian buildings which Overall the South West is a hotbed for creativity of all sorts right aren’t really relevant to the modern offices. They don’t have the, the now. It needs support and encouragement, tax breaks, especially sort of, the working together. People like to work together in bigger for start-ups and SMEs - otherwise, as little political interference as spaces, I think. Um cabling, um facilities – loos, you know… it’s not possible. The people in the region have made it work, we must be there in a damp-ridden Georgian townhouse in the middle of town. careful not to let politicians and big business break it.

In Bristol there was a call for more affordable studio space, as well as Access to business support, particularly in the form of mentorship space that was suitable for meeting clients: was mentioned many times. A mixture of responses showed that some designers are unsure of what business support is available to [names co-working space] is okay, cheap desk space, but it’s like them and how they might access it. Some feel the business support a cattle market. You couldn’t take a client there. that is available has not been of high quality, and others, the majority, feel they are in need of mentorship from an experienced person from We have directly had to move because of rent. It’s like London; you within the industry. just have to move further out to the outskirts of Bristol. There are spaces you can take over in Fishponds. But you don’t want to have I think we need more business support, and whether that’s kind to do that, you want to be in the centre where everything happens. of looking at having a mentor, which is quite likely to be someone that’s got industry experience, that’s come down to Bristol. When SOURCES OF SUPPORT I say that, I mean they could have got that experience in Bristol, I When design SMEs are successful and grow quickly they face particular shouldn’t sort of say it in that way, but there are bigger agencies challenges but attract little support because they are successful. worldwide, and that experience is valuable.

There is a massive gap when no one supports you, I guess between INFRASTRUCTURE Years 2 and 3 or in our case, between three and eight staff, where Infrastructural issues, namely transport and broadband were expressed you’re growing very quickly, you haven’t had time to amass any cash by many respondents. The road and rail transport infrastructure within flow or savings to invest in something, so you have to do everything the region, particularly between Bristol and Bath, was considered poor on the fly and there isn’t anyone who caters for that because you’re and a hindrance to face-to-face meetings. seen as successful and you’re not seen as a start up, and we are definitely in that trap. We do need to be really well-connected, even though our customers are quite local. You know, if they, if they want to come from central Bristol, for example, then they need to be able to get here easily. If they want to come over from Wales or drive from London, then they need to be able to get here easily. Bristol has no transport infrastructure whatsoever.

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Findings / What Could be Done to Enhance the Design Industry in the Region?

The cost of train travel to London was an issue for the many companies DESIGNERS’ SUGGESTIONS FOR ENHANCING with London clients who expressed frustration at the high cost of early DESIGN IN THE REGION: morning travel. ++ open up and strengthen the network. Train fares to London extortionate especial for early morning trips… Bath/Bristol train fare expensive, traffic terrible. ++ more low cost events, exhibitions and opportunities for networking.

Frustration was also expressed at the difficulty and expense of ++ dedicated open work hubs and flexible spaces for meeting. connecting to high speed broadband. ++ an online directory of all the talent; opportunities for online networking. What we’re doing now is we don’t deliver drawings in a physical sense, we’re uploading and downloading information. So being ++ a stronger identity for the cities and the region as a location of on fast networks is something the city can do to help us. design excellence.

VALUE ++ more support for micro businesses, expanding SMEs and creative A better understanding and appreciation of the value that design adds start-ups; more work opportunities for new designers. to goods and services in every sector and of its contribution to the region would, perhaps, lead to some of the requests from designers ++ the provision of affordable and appropriate studio and office space. being addressed. ++ targeted funding and more investment; better information The design community is already co-creating its own infrastructural about sources of funding and support and how to access them; assets through its interactions. Promoting design as a field that creates government and local authority support around tax breaks, value speaks convincingly to local authorities, universities, Local rate reductions and planning. Economic Partnerships and other professional networking organisations. ++ greater collaboration and communication within and between Designers argue for support in creating a higher profile and developing different companies and agencies involved in design access to markets and clients through annual festivals or showcasing (including education), in and outside the region. events with the full panoply of prizes and awards. Setting up design hubs could start to support the needs for capacity building, ++ more collaboration between design studios and freelancers. mentoring, skill sharing and innovation that respondents articulated. Local authorities planning operations could do what they can to ++ better provision of education and training into and within preserve the availability of low rent studio and start up spaces. the industry.

These suggestions argue that design has a lead role in a regional ++ improved transport links. industrial strategy, engaged in acknowledging and understanding the value of creativity across all sectors. This project and its outcomes ++ access to high-speed internet. contribute to articulating this clearly.

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The Bristol & Bath by Design project has responded to the We use the idea of the ecosystem to emphasise the idea that this is a complex living network sustained by many different kinds of challenge to understand and analyse the economic and cultural value exchange. Inside the ecosystem people are giving and receiving value of design in the Bristol and Bath region. Previous pages in all kinds of value: ideas, inspiration, contacts, technological know how, workers, access to markets, lifestyle support, knowledge. this report have set out our findings from the different strands of This complex network of exchange is what produces economic the research. value for the sector and for the region. Clusters and Ecosystems

The identification of clusters has become a key tool of industrial development policy. In the UK for instance, the recent McKinsey & Company (2014) report on cluster-based economic development creates a snapshot of the most economically significant clusters in the United Kingdom as of 2012. While London and the South East are home to nine of the country’s most productive clusters, the UK’s clusters are spread throughout the country, and encompass a wide variety of sectors.

The major clusters located in the South West were in tourism, aerospace, We have described our attempts to use standard economic approaches A cluster´s ecosystem high-tech and ICT. The high-tech and ICT cluster was focused on Bristol to measuring value in terms of productivity and turnover. In contrast to comprises a different set and Bath. It contains a diverse combination of electronics manufacturers, this, the Enterprise Image analysis argues that design firms develop a of actors (companies, animation and computer graphics firms, digital start-ups, and university very particular kind of value constellation in which value is co-produced knowledge institutions, spin-out. All three of the identified clusters in the South West are defined with multiple resources and agents. This co-production is particularly dealmakers, investors, as being both fast growing and globally significant. reliant on regional networks for sourcing freelance and specialist etc) that influence skills and on very high levels of client negotiation skills. It is also bound the development of The definition of ‘design’ for our research into the Bristol and Bath into third party networks, which play a crucial role as connectors. We a given cluster. The region went beyond high-tech and ICT. One of the most significant have seen the designers’ perspective on value and heard what they closer collaboration and aspects of Bristol & Bath by Design is the detailed ongoing mapping had to say about different ways of being connected to place, ideas, interaction between the of design across industrial, business and cultural sectors as well as employment, resources, people, and markets. There was, it seemed, actors in the ecosystem, across the region geographically. something particular to the Bristol and Bath region where the range the stronger the cluster of connections produced strong and sustainable design identities, and the more competitive In relation to evaluating particular industries in particular regions, the enterprises and networks. We have considered how businesses of all the companies in the literature of industrial clustering has moved from talking about clusters sizes and many types see and use design, and how freelancers fit into cluster. Strong clusters to thinking more about networks and relationships when considering the system. We have looked at the region in the present in relation to attract talents and capital the operation and function of a cluster. To build and support a cluster its near and distant past. and these strong cluster we need to understand the value constellations that sustain it. ecosystems can be found A received idea is that industries tend to agglomerate in clusters, but The picture that emerges from this research is complex but an image in mature clusters recent studies have identified that dynamic interaction within a city play that asserts itself clearly and strongly is of an overall web of connection (REG X Denmark, 2014) a more important role in sustaining an industry’s cluster development. that holds design in the region together and sustains it. clusterecosystem.dk/portfolio- Storper (2013), for example, argues that the social and cultural contexts items/background/ of a place play a key role in driving urban development and underpins In this final section of our report we look more closely at this image and economic activities. Studies of the creative industries, industrial consider theoretical approaches to development formed through the development and regional innovation and creativity (Scott, 2000, 2002; overlapping models of networks and identify some of the key conditions Florida, 2000), point out that the emergence of clusters in particular that support a successful regional design ecosystem. cities and regions is in direct correlation to networks and social activities

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The Bristol and Bath Design Ecosystem

(Becker, 1982; Wittel, 2001), educational institutions (Hall, 1998) by different operators in the network; they are co-dependent. and cultural spaces (Edensor et al., 2010; Rantisi and Leslie, 2006). The system is also dynamic. The birth of new companies, following the decline of others, as markets, technologies and business models Creative ‘clusters’ then need to be considered as dynamic ecosystems change, is a marker of resilience within the regional design industry. that demonstrate how different actors function interdependently The formation of new ideas and abandonment of ideas that cannot to develop and sustain a place’s creative industries. The idea of the be bought to fruition is central to design itself, as one high-tech ecosystem has become a kind of shorthand to describe complex systems designer commented: where are all the parts are interdependent, from the natural world but also all kinds of economic spaces, e.g. the innovation ecosystem, That’s what design is about. If you go back to the roots of design, the technology ecosystem, the business ecosystem. It has also been it’s about experiment, and don’t worry about failing. applied to the creative and arts sectors (Markusen et al 2011) This approach to experimentation and innovation is reflected in a Theoretical positions that characterise clusters as defined by systemic healthy start-up culture that is supported by the effect of beacon relationships, and as facilitated and sustained by social and cultural attractors. When one company leaves the area or changes its size or activities seem to us to be most appropriate to the design economy. operation, new companies form in its wake. The decision to out-source design to the private sector first by the Ministry of Defence in the mid The proposition that the cluster is understood as an ecosystem allows 1980s and then secondly by the BBC in the 1990s, led to a proliferation us to do two things. One is to look at the whole system of exchange in of small companies within engineering and TV/film sectors in the the design economy in the region. Secondly it allows us to focus on the region, founded by former employees of each institution. quality and value of the relationships that constitute the ecosystem at the actor to actor scale. Similarly in the high-tech industries, the closure of a major design department at Hewlett Packard laboratories and the relocation of Inmoss, resulted in new start-up businesses by ex-employees of The Bristol and Bath region these companies who chose to stay in the region and seeded the current high-tech cluster for which the region has become known. The qualitative data collected by the project points to the ‘close collaboration and interaction’ that characterises strong clusters I suppose what happens in big companies is that people break away in the region. and form other companies... They’d learned their trade, found their clients, and they were starting to break away and form companies. Our evidence suggests strongly that for various reasons the design – TV/Film Designer, Bristol business in its core sectors is very social, creating identities, human capital and innovation capacity through a rich web of relationships. In animation a cluster effect emerged around Aardman, with related The regional ecosystem is active, vibrant with many types of exchange. companies in the region continuing to thrive after Aardman’s decision We suggest that the qualities of value exchange in the relationships to take all design in-house. between designers, firms, clients, and their relationship to qualities of place are at the heart of the successful design network. They were getting work and they couldn’t do it all. So they were hiring us to do it. So that was great. Plus the fact there were other Our results also support findings elsewhere that density of networking people around meant, you know, so other editors might need opportunity, university impacts and a dynamic social and cultural something – it was just a kind of – that dynamic, I always mentally context are all characteristic of creative economy clustering. visualise it as Aardman creating these satellites, and then they have little satellites, and it’s all this kind of spreading out thing. We did not find evidence of some of the potential problems for economic But of course, over the years, what happened was Aardman then clusters identified in the McKinsey report: barriers to innovation and no got bigger and then took it all in-house. And so they stopped going availability of a skilled work force. out. But, by then, we were kind of a – we had our own momentum. So we had our own satellites. If we examine the relationships constituting this cluster, the strong – Studio Owner, Animation, Bristol evidence around collaboration argues that value is being co-produced

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The Bristol and Bath Design Ecosystem

Adaptation is also important. One aerospace engineer described how cyclical change in the way that large companies operate requires CASE STUDY: CASE STUDY: companies within the supply chain to be flexible: BUROHAPPOLD AMALGAM MODELMAKING

The big companies are outsourcing more and more stuff, so there’s Bath-based engineering consultancy Since 1984, Amalgam have been providing lots of small little design firms, little engineering firms… It might Burohappold, was founded in 1976 when model making services to Architects such have been engineers that worked in Airbus and then left, and then Ted Happold, engineer on the Pompidou as Foster + Partners & Zaha Hadid, marine set up their own little studio, working on a specific aspect of the Centre and Sydney Opera House, had a vision models to both the super yacht industry fuel system, or something like that, and then Airbus will, you know, to create a degree in Architectural Engineering and defence contractors, prop-making and outsource this to various people. But they go through phases. that combined both subjects. During the scenic work for Aardman, the BBC, product So sometimes they outsource everything and then sometimes early stages of their course, architects and prototyping for Dyson, Rolls Royce. They they bring it all in-house. So, it keeps everyone on their toes! engineers were trained side by side. The also design, build and install exhibitions and University of Bath offered Happold a position interactives for a range of visitor centres, These human capital networks can also produce resilience and of Chair of Building Engineering. Happold museums and science centres. The process innovation. Here a respondent recalled the way that the creative moved to Bath to set up his new practice, of making a physical model, which looks and and design community responded to the redundancy of half the BuroHappold. Professor Sir Ted Happold died acts like a finished item, offers a vital stage Hewlett Packard European research lab in Bristol in 2008, which in 1996. The company now operates across in the design process for many industries; lead to reemployment or new start-ups. 23 countries. It employs 1,800 people, 350 of revealing unforeseen problems and preventing whom are based in Bath, making the company expensive mistakes later on. What was really nice was the community strongly came together one of the largest employers in the city. to say, ‘We don’t want this talent to leave the area. What do you Over the past three decades the company need to help set yourself up as an independent, find other jobs? BuroHappold designs buildings, urban has seen a growth of regional clients What can we do to hold you in this area?‘ environments, transit hubs, city districts working in new technology industries, film and entire cities. In London, BuroHappold and animation, these are benefitting from Alongside the many positive aspects of the ecosystem our research has engineered iconic buildings such as the investment through the Bristol and Bath found evidence of two challenges, identified in the McKinsey Report, Millennium Dome (now the 02), the Globe Science Park, and Bristol City Council. that could create problems for future development. Many respondents Theatre and the Queen Elizabeth II Great felt that the identity of the region as a vibrant and successful design Court at The British Library. cluster was weak. They considered that, apart from the beacon companies, there was low awareness among people outside the region. This could have an impact on attracting investment, developing new markets and being heard by local and national government. People were also concerned about aspects of the infrastructure which created problems for activity and could damage competitiveness.

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The Bristol and Bath Design Ecosystem EGN ECE

NCN ALE AE EC NEACN

EducationPublic to Design activity >> Brokerage How can ecosystems be supported? Design Ecosystem Beacons Private What could policy makers, local authorities, LEPs, investors, universities Public to Talent pool private Ideas sharing and other creative economy stakeholders do if they wanted to support Public a strong design industry in their regions? What are the conditions that Funding Diversity allow a design sector to flourish? Private to Dynamism Public Collaboration Not For Proƒt (NFP) We argue that our approach and our evidence can support: Openness Trust ++ policy in its need to understand precisely the operation Connectivity Private to and functions of an ecosystem if it is to support its success. Space NFP Education ++ designers and creatives within these networks to be able Place to identify and understand their own position and impact.

Public to Private to To realize design potential we have to understand the design world. NFP Private From our evidence we argue for an ‘ecosystem’ approach that is based on the evaluative concepts of the ‘cluster’ but also takes into account the the values and relationships that constitute the particular networks NFP to and communities of the design industry. Such an approach may help Public to Private Private us to know what the parameters are that drive the design industries’ (both ways) emergence, sustainability, resilience and productivity. Public to Private via NFP However, it is necessary to sound more than a note, a massive sonic NFP to Public blast, of caution. There is no cookie cutter, off-the-shelf solution to (both ways) Education forming a successful design sector. Each place and region will have its to Private via NFP own talents, strengths, and weaknesses, its own ‘beacons’ and qualities that are specific to it. What works in the West will not work in Scotland (both ways) Private to in South Wales or on Merseyside. Nevertheless by thinking about the Public to Education Education

Education relationships, qualities, values and exchanges that constitute a design to Private

NFP to Public Private to NFP ecosystem we aim to elaborate some principles for further success in (both ways) (both ways) our own and other regions. (both ways

(bothways)

NFPto Private Design Ecosystem Private to Education

The ecosystem is formed of private individuals and companies, the public sector, not-for-profit companies and the education sector. There are differences in the ways the stakeholders function and the Connecting Attract students, Provision and Providers for Diverse skills and designers to designers and training of design-related markets create attributes they have influence over, however values of openness, trust clients, third clients and talent activities sustainability and collaboration, and the need for dynamism and diversity are shared. parties and Identify region as collaborators place for design

Design activity in the region is supported by a complex set of interactions between all stakeholders; exchanging ideas and C C experiences, providing funding and brokering connections Growth of new New ventures New ideas and Face to face Good intra and Aordable oce Walkable scale of companies as and innovation sharing of ideas meetings are inter city and studio space. cities with cultural between designers, clients and collaborators. others decline and experience important transport links, Co-working space and social spaces creates resilience fast internet encourages oers designers connection collaboration desirable lifestyle

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The Bristol and Bath Design Ecosystem

VALUES Essential Elements of The culture of the Bristol and Bath design ecosystem is characterized the Design Ecosystem by these values and beliefs: ++ Generosity of knowledge exchange is a frequently cited feature CO-CREATION of the ecosystem; people in the thriving micro business and SME At the heart of the ecosystem we find processes of value co-creation milieu understand they do better by sharing than protecting. based in collaboration, and the exchange of knowledge between the ++ Openness toward new ideas and processes. various agents as shown in the Enterprise Images. Design is a social ++ Trust in creative partnerships. business that has problem solving communication at its heart therefore ++ Dynamism in relation to starting up and closing down companies, collaboration is fundamental to design. Design value is co-produced by characteristic of an independent attitude that supports innovation different actors in the client / user / design / manufacture constellation. and invention. Jobs, projects and enterprises have their own life cycle. Over time this dynamism creates resilience in the ecosystem, SECTORS a confidence that as one project or studio moves on another will be These processes of exchange flow between four different types produced, offering some continuity to the freelance workforce. of organization or agencies. First and foremost the private firms ++ Diversity in markets and in cross-disciplinary talents. From the single engaged in design enterprise. Second, the not-for-profits that produce designer through to the global industry, from the model maker to the professional networks and hubs or studios where creatives can co- aircraft design pipeline there is a very wide range of design experience, locate. Third, higher education institutions that are highly porous, skills and talents that the ecosystem can draw upon. This diversity is producing a vibrant flow of expertise and talent. This flow operates the heart of a healthy ecosystem because it affords and necessitates at the level of the talent pipeline where many young creatives find the exchange of a wide variety of values within the population. their first jobs through tutor-brokered placements or connections, They are interdependent. but also operates through research and development knowledge ++ Attachment to quality of life and well being values such as a rich exchange collaborations. Finally, local authorities (especially Planning cultural mix, many of which are also to do with place. Departments and Economic Development Units or Partnerships) are also key agents in a regional design ecosystem given their role in relation to ATTRIBUTES property and regional industrial policy. The physical and material attribute of the region are the second order of environmental factors that determine the quality of the design ecosystem: The success of the interactions between these kinds of ‘organisms’ in the ecosystem is subject to two different orders of environmental ++ Quality of life attributes: attractive physical surroundings, ‘’walkable’ cities influence. First of all the beliefs and values that constitute the culture that are bike friendly, a human pace of life, and access to the countryside. of the ecosystem. Secondly the physical and material attributes of a ++ The scale of the region, not too big and not too small, means that designers particular city or region. can operate in the right size networks where linkages from neighbourhood to region are a commonplace feature of professional worlds. ++ A good supply of affordable co-location working spaces and creative studio spaces in post-industrial properties. ++ A multitude of social spaces for designers to encounter one another promoting an ease of formal and informal face-to-face interaction ++ Comparative ease of access to the major national market and national talent pool. ++ Beacon attractors. The region has a small number of high profile brands that are design led. Aardman, Dyson, Renishaw, Hewlett Packard are all, for instance, global brands in their fields that attract talent to work in the region. Beacon attractors create and sustain a creative workforce that becomes increasingly mobile between sectors as the design ecosystem matures.

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The Bristol and Bath Design Ecosystem

CASE STUDY: CASE STUDY: I think the notion of design is key THE BBC NATURAL HISTORY UNIT WEST OF ENGLAND AEROSPACE FORUM AND The Natural History Unit was founded in THE NATIONAL AEROSPACE and is fascinating. And it’s the best Bristol in 1957 and after the success of the TECHNOLOGY PROGRAMME series Life on Earth in 1979 it was given departmental status. In 1994 changes to As markets and technologies in the Aerospace of humanity. The idea that you look BBC methods of procurement of content industry change, the private and public sector led to a cluster of TV and film-related are working with a not-for-profit organisation companies setting up close to the Unit. to ensure that aerospace manufacturing at the world, you analyse it to find The Unit has gained both worldwide is retained in the region. The National reputation and has been in the forefront Aerospace Technology Programme (NATEP) of technical advances in filming. It works aims to encourage innovation and growth in a problem, and then you come up with the technology industry, experimenting regional small and medium sized companies. and adapting the latest innovations. The The programme is funded by the Government unit has pioneered time-lapse and thermal- through the Advanced Supply Chain Initiative with a solution to that. That’s just imaging, slow-motion filming, 4 - 5K high (ASCI) and has been delivered in partnership speed camera technology. Wendy Darke, with the regional trade association, the West on her appointment as Head of the Unit in of England Aerospace Forum (WEAF). what humanity’s good at… And I 2012, said: ‘In terms of the culture that’s developed, SMEs are funded to nurture new products the expertise here, there is nowhere in the and technologies to become commercially think that there’s just not that many world that has such a high concentration of viable. WEAF assists SMEs to gain access to talented wildlife camera people, programme clients higher-up in the supply chain, so that a producers or researchers. It really is the product can be developed, licensed or sold. of us get to do that now. But all of epicentre of the industry.’ This intervention is important in an industry where small manufactures are competing In April 2016 Wendy Darke left the BBC to set on a global scale, which may take ten years the greatest achievements of our up her own film production company in Bristol. for a new product to be taken-up by an aerospace company. The region’s SMEs need to innovate to remain competitive. Design is species have been design solutions. at the fore-font of this change, as a WEAF representative explains: [A company] might – Furniture Designer, Bath have been building a particular widget for years, and thought, ‘Actually, if we made the widget like this, it could be ten per cent lighter’ and, aerospace loves things to be lightweight. So, ‘I can make you exactly the same thing but it’s lighter’, you’ve got the business. So then they’ll have done that and then they open a design team. And then they’ll be known more for their design kind of stuff than rather than for just build to print…They move up the food chain, rather than just being the build to print people at the bottom.

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Unlocking the potential of the creative economy involves We have found: promoting the overall creativity of societies, affirming the 1 Design-led companies located in the Bristol and Bath region have distinctive identity of the places where it flourishes and clusters, higher average levels of productivity than those located elsewhere. improving the quality of life where it exists, enhancing local image They were 14% more productive than the average small non-design company and 3% more productive than average small design-led and prestige and strengthening the resources for imagining companies across England and Wales. Also, according to our analysis, diverse new futures (UNESCO, 2013, 15). in 2012, Design-led companies based in the region had significantly higher turnover than the average design companies elsewhere in England and Wales.

2 Statistical methods currently used to measure the economic value of the creative industries do not include SMEs and micro businesses. The real economic value of design may be hidden. Equally the concept of ‘design’ as posited by the project is also hidden within the ‘creative industries’ or the ‘creative economy’s statistics and appears to be proxy for ‘graphic design’. We conclude that current methods are unable to measure the types of economic and cultural value accruing from design activities. Combining limited quantitative data analysis with qualitative data collection has provided deeper Objective insights into design in the region.

Our brief was to understand and articulate the economic and cultural 3 Design is integral to commercial activity in the region in its role as value of the design led sector in the Bristol and Bath region using a process for creativity, innovation and problem solving, as means qualitative and quantitative analysis. of communication, and in the value it adds to the experience of the consumer. Designers and design companies are not creating goods and services in isolation, but are working in relationship with international, Why is this important? regional and non-regional companies and individuals to co-create economic and cultural value. Design in the region is diverse in terms of While there have been numerous studies published on the value and the activity and the markets it caters for/works in. However, designers significance of the United Kingdom’s creative and high-tech industries across all the disciplines have a common understanding of design and over the last two decades, there have been decidedly fewer focused that ‘design is a way of thinking and problem solving’. This unites the specifically on design, especially at the city or regional level. designers across different design sectors.

4 Microbusinesses and start-ups constitute a large part of the design economy in the region. These creative micro businesses are frequently dismissed as ‘lifestyle’ businesses because they don’t fit the conventional high tech, high growth template. We have found that these businesses constitute a creative, skilled, flexible labour force that matches the needs of larger organisations. They are important for present and future success and productivity in the region. Their value is hidden but so are they in terms of accessing and engaging with business support initiatives.

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Conclusion

5 Across all sectors, designers cited the regional network of flexible, 9 The history of design in the region matters. The way the region highly-skilled companies and individuals that can be relied upon has evolved, its key industries and people, the impact of historical to deliver a project, as well as a strong community of people that events, private investment and political economic strategies are open to ideas and ventures, as key reasons for success and for are all part of how clusters of activity have arisen and of how a remaining in the region. tradition of resilience, innovation and adaptation has been built. The history of the region’s economy is one in which large-scale 6 The scale, context and environment of the city-region are critically industrial enterprises and small-scale artisan and craft industries important, especially in relation to the quality of life it affords. can co-exist and even interact. We conclude that understanding a Bristol has been a popular destination for the relocation of creative place’s uniqueness through its social, cultural and political history industry sector businesses over the last decade; 60% of businesses is invaluable in understanding its present and supporting its future. in our data that had relocated to the Bristol area came from London. Social capital in the sub-region is key, with the creative industries 10 The problems encountered in this study have led to important sector being driven by ‘dense networks of informal contact’, making understandings about design in the region and to innovative the city-region context very important to the competitiveness of research methods. We are convinced of the importance to all the sector and to the success of the ecosystem. stakeholders of accurate and ongoing mapping of design activity; and of the use of Enterprise Imaging as a way of generating 7 Our design ecosystem demonstrates that while private companies knowledge for both participants and researchers. and freelancers are the primary part the ecosystem, public bodies and organisations play an important role in facilitating and supporting the design sector. These are: universities, public sector, Limitations of the study and and not-for-profit agencies. They are essential for providing funding and space, sharing experiences and ideas, for connecting designers problems we encountered with collaborators and clients, for giving a voice to the community, for contributing to the talent pool and as beacons to promote and We knew from the start that ONS data could provide only a partial attract designers to the region. picture, thus highlighting the inconvenient truth that this traditional method of data-collection does not include the small companies who 8 Although design activity is diverse, there is very little diversity contribute so much to design activity in the region. This meant that the (social, ethnic, cultural) among the designers. The fruitful qualitative aspect of the study became much more important. Issues of exchange of information and ideas face-to-face and through identifying representative sources of information, negotiating access, various networks, the building of trust within and across sectors achieving good rates of participation all had to be faced, in the context in the ecosystem is facilitated by shared social and cultural capital of limited time and resource. among participants. A majority of the creative businesses located in the sub-region have always been there. Friends and family We relied on our research partners’ networks for our initial attempt to are cited as central to a large proportion of commercial activity. find individuals willing to participate in the online survey. The response Strong social networks and local ties can be a barrier to developing to this was disappointing. We then had to identify individuals and new relationships outside this space. This could limit innovation, businesses willing to take-part in in-depth interviews and focus groups. narrow vision, aspiration and understanding, and access to new The data collected in the study is inevitably from individuals motivated and changing markets. Expanding networks to include new to take part and in some cases self-selecting. Triangulating data from all knowledge, ideas and experiences could be crucial. sources reveals a strong unanimity of response. This may mean that the information we have is reliable. Equally it may indicate that our sample of respondents is not representative. We do not know if the views and experiences of a ‘silent majority’ would differ from our findings.

It was this that led to us undertaking the huge challenge of mapping the region more accurately and comprehensively. Research into, for example choices behind and the impact of location will be facilitated by this. It will also make the region more visible to itself.

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Conclusion

The study also limited its data sources to the designers, or those closely linked to design. The Enterprise Images were constructed How can you be a successful from the point of view of the designer and not of the client. The client/customer perspective could enhance understanding of crucial elements in the process. design company in a region? To do Our definition of ‘design’ was deliberately broad. This created a challenge in explaining the project to potential participants and that you have to be a specialist but interested parties. Design is a word, which in everyday use is frequently qualified by an adjective: graphic design, engineering design, product design. It also plays a part in many processes and you have to grow your own people. activities: manufacture, theatre, publishing, film and TV, events, marketing, branding. Our approach confirmed our belief that design is a creative problem solving activity that is embedded in economic It’s that combination of Bristol and cultural activity. We found that all participants in the research agreed with us. Although this breadth of definition enabled some important understanding, for instance of what micro businesses and lifestyle and attributes, working huge enterprises shared, it may have been too broad for in-depth understanding of a small aspect of our question. We were able only to scratch the surface. with taking very talented people Design is so integrated, so enmeshed it was difficult to establish a point at which to apply a measuring stick. We found also that designers are from educational establishments less interested in metrics and more concerned with the value, in broad terms, that design created for them, their clients and the consumer. and growing your own. Questions that have evolved – Design Planner, Bristol during this project

To what extent is it necessary to quantify the value of design? What is the value for design to the designer and what is the value of design to the client?

Can we come up with creative and practical solutions that can help us in gaining a better understanding of value?

How do you extract the value of each individual’s input in a complex process?

The design ecosystem of the region is complex, it works and it is important to the regional and national economy. Who in the network is responsible to provide/co-ordinate the support it needs?

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158 159 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Outcomes of the Project

By employing different methodologies we consider we have In creating the content we checked and quality controlled all the information we already had and then used data mining techniques to gained better and more detailed insights into aspects of design locate additional enterprises. Company names, postcodes and website in the Bristol and Bath region that relate to understanding its addresses have been found, checked and listed. The app also allows designers to identify themselves and the project will encourage them cultural and economic value to do this by promoting the app.

So far there are over 3300 entries. The information can be searched It has been important to us to find ways to make design in and displayed in different ways. the region more coherent and more visible and to make its processes better understood. Enterprise Imaging

This is a valuable and versatile research method, which we adapted for the project. It is applicable to organizations of any size. It is a means of identifying the resources and connections between actors and organisations which enable the co-creation of value.

Enterprise Imaging is doubly useful. During the interview the participant is helped to construct and understand the complex of activity they are To do this we have: involved in.The visual representation enables them and others to see the whole, and identify key factors that affect outcomes. ++ Developed an app that maps design activity across the region. ++ Used and developed methods of visualising the data. Importance-Performance Analysis Good visual communication provides a strong and powerful conduit for explaining complex information and can bring many stakeholders (IPA) together towards a common understanding. This is a research tool which made it possible for us to consider a number of attributes in relation to their importance to the individual Transferable Methodologies and the region in which they were located. Plotting this visually makes clear expressions of importance relative to performance. Our aim has been to develop transferable methodologies that can be used as a tool kit that can be adapted to the requirements of the user. We believe they can be used to gain a more measured understanding History Timeline of a region, or city or company. We undertook an in-depth survey of design history in the Bristol and Bath region to date. To identify and understand key events and patterns Mapping the Territory we created an infographic which can be explored in many different ways and for a range of purposes. The BBxD mapping application enables information about design companies and their location to be available online. It plots where designers work and shows clusters and the range of activity in the The Design Ecosystem region. It shows design in the region to outsiders and reveals it more clearly to its insiders. This infographic provides a model for a visual representation of a complex system.

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162 163 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Recommendations

Our recommendations are grounded in our findings. In particular Longer-term Recommendations we focus on the value of design; the identity of design in the In the medium and long-term we recommend activity that would have region and beyond; the need to sustain and support design. wide reaching benefits and sustain design in the region.

QUESTION DEFINITIONS OF GROWTH To increase the economic value of design across the region there needs to be a recognition that many design companies wish to stay small to remain agile. To grow design in the region it is necessary to think rather about growing the network of designers rather than simply turning SMEs into large companies. Regional and national policy should consider how this might be supported.

DESIGN BEACONS AND AMBASSADORS Design needs regional champions who will advocate for design and provide a focus for promoting the region’s identity. Exemplars of outstanding practice, often overlooked or not publicised, should be identified and ways found to involve them in raising the profile of the region. Universities should be encouraged to be more pro-active and involved in design activity. The high quality of design higher education Recommendation for should be supported to ensure a flow of new talent to the region. Immediate Action AFFORDABLE SPACE Provision of affordable, centrally-located creative workspaces is a One feasible recommendation that would make an immediate impact: priority. Allied with this is support for and recognition of the value of social and exhibition spaces in which designers can meet clients HOLD AN INTERNATIONAL DESIGN FESTIVAL IN THE REGION and collaborators.

This would: OPEN ACCESS The industry should consider the openness of its current practices ++ Raise the identity of the region as a place for design and to new and inexperienced arrivals. Design networks should be more demonstrate the quality of the work is of international standing. visible, open and accessible to a diverse range of designers and clients. ++ Serve as a beacon/attractor for designer, design companies and clients. The region has good diversity of skills and markets, but there is a lack ++ Show the region as a place that has guaranteed expertise, of cultural diversity in the backgrounds of individual designers. Out- knowledge, innovation and creativity. reach to schools and colleges in order to improve the diversity of ++ Be a creative stimulus for design companies who are working here design professionals needs to be properly co-ordinated and not and an opportunity to showcase what they do. solely the responsibility of the private or education sector. ++ Ensure a competitive edge for the Bristol and Bath region when other cities in the UK are hosting design festivals. BUSINESS SUPPORT Provision of business support in the form of mentorship schemes It is essential that all stakeholders in the design businesses, not-for- delivered by not-for-profit organisations, tax relief, and support profits, universities, LEPs and local authorities - come together to for small levels of growth through apprenticeship schemes. make this happen.

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Recommendations

CONNECTIVITY Central to the delivery of growth is greater connectivity and collaboration CASE STUDY: CASE STUDY: among higher education, private, public and not-for-profit organisations. A DESIGN FESTIVAL (EINDHOVEN) A DESIGN DISTRICT (HELSINKI) They need to work together to support the design network. Dutch Design Week (DDW) was informally The Design District in Helsinki was Ensuring high-speed internet and a good transport system to keep established by a design collaborative established in 2005, with the vision to designers connected within the region and in contact with the rest in 1998, and has now evolved to be the bring together all the creative businesses of the world. biggest design event in northern Europe, in the neighbourhood. Today it comprises presenting design ideas from more than 4 districts, 25 streets and over 200 units CO-ORDINATION 2500 designers to more than 275,000 that spans a wide range of creative Identification of and funding for a way to co-ordinate activity to support visitors from home and abroad. In October organisations, showcasing the newly and develop design in the region. All agencies in the region need to each year DDW takes place in Eindhoven, emerging alongside internationally co-operate in achieving this. There is already good work undertaken by it is centred in the now disused Phillips known designers such as Alvar Aalto, organisations in the region, as demonstrated by West of England Design factory, but is a city-wide event with Iittala, Marimekko Corporation. It is also Forum, Creative Bath, Bristol Media, West of England LEP, and REACT. more than hundred locations across the home to The Design Museum and Finnish city. The event is supported by Design Architecture Museum. The Design Museum CREATE A DESIGN DISTRICT Ambassadors including furniture designer contains over 75,000 objects, 45,000 Identify areas of design activity that can highlight commercial Piet Hein Eek who has recently collaborated drawings and 125,000 photographs. The enterprises, can increase business and tourism and enrich an area. with Ikea, and Bas van Abel advocate of Design District is clearly placed on the Create a coherent image for this and promote it within and beyond Fairphone, Fablab and Open Design Now. tourist map, incorporating regular design the region. DDW is sponsored by private, public, not-for- exhibitions, design walks, show room walks, profit, CIC. The mission of the organisers is and late night opening events. THE ESTABLISHMENT OF DESIGN HUBS to create opportunities for designers and These should provide affordable workspace, educational spaces, social encourage a new generation of talent. and exhibition spaces. Design hubs would act as beacons for design in the region as well as providing creative stimulation, and network support. They could be an important element in a Design District.

Craneworks initiative in Bath is a concrete case in point that could be supported by a more informed understanding of design value at policy stakeholder level.

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168 169 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Case Studies of Partners

PARTNER CASE STUDY: PARTNER CASE STUDY: PARTNER CASE STUDY: WEST OF ENGLAND DESIGN FORUM BRISTOL MEDIA CREATIVE BATH

The West of England Design Forum (WEDF) Formed in 2005, Bristol Media (BM) has over Founded in 2008, Creative Bath (CIC) is the network for creative, tech and cultural businesses, is a not-for-profit community interest 580 subscribing members and a social media organisations and individuals in the Bath area, with 11,000 followers. company (CIC). Since its establishment in reach of over 30,000 and registered as a 2006, the WEDF has built a network of community interest company in 2007. It is Its diverse membership ranges from film, music, publishing, new media, and theatre 3,100 members with backgrounds from the creative media network in the region for backgrounds, to architects, coders, artists, writers, designers, IP lawyers, developers, furniture product design and graphic design sectors. design activities including animation, VFX, makers, festivals, SEO specialists, event organisers, engineers, PR, performing arts, and It has a strong reputation in connecting the web design, mobile and experience design, speech coaches. The organisation is partially funded by Bath & North East Somerset Council. design community through design-leading film and television talks, networking events, and practice The aim is to bring together the local creative community, to raise the profile of the sector, based projects. BM provides training workshops, master- and work as a link between the creative sector and schools, colleges and universities. classes, lectures and thought-leadership from Their partners include Bath Spa, Media Clash, The Guild, Bristol Media, and Future Publishing. WEDF’s mission is to connect creatives local industry experts. It co-ordinates the by providing opportunities and space to national annual Vision conference - the 6th share ideas, collaborate and network. It conference is scheduled for November 2017; aims to inspire, champion and share design and the annual Barometer surveys, which expertise through practical and professional benchmarks business performance, identifies training; subjects of which include: branding trends, insights, opportunities and threats and advertising, photography, copyright and facing creative companies in Bristol and finance. WEDF has delivered more than 50 Bath. In 2015, to celebrate 10 years of media talks, events and projects, 25 specialised collaboration, BM produced a showcase training sessions and 10 large projects. event, showreel and talent directory.

They are an essential bridge between It links to national bodies through its universities and business. In its sixth year, membership of the Creative Industries the Design Buddy scheme connects design Council Cluster group, the Creative Industries students to senior designers, creative Federation, and has strategic partnerships directors and agency owners in Bath and with WEDF and Creative Bath. Bristol. The scheme offers mentoring and feedback on their work, studio placements BM’s vision is to make Bristol the most and insights into industrial best practice. connected creative community, with the objective to work as a catalyst, connector WEDF maintains strategic partnerships with and supporter of its members. D&AD, Design Council, Low Carbon South West, The Design Programme, Laurence King Publishers and Bristol Festival of Ideas.

WEDF’s vision is to develop a Design Centre - a space to showcase local design and the hub for all aspects of design and business.

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Case Studies of Partners

PARTNER CASE STUDY: PARTNER CASE STUDY: It’s rich, it’s vibrant, I think it’s THE WEST OF ENGLAND LEP REACT

Established by the government Between 2012 and 2016, REACT was an incredibly active. I think it’s initiatives in 2011, the Local Enterprise AHRC funded collaborative project Partnerships (LEP) fund local enterprise between UWE Bristol and film culture and and infrastructure in the region. digital media centre Watershed, along with got fantastic networks. It’s got the Universities of Bath, Bristol, Cardiff and The West of England LEP is one of 39 Exeter. It was established as one of four partnerships across the UK. It covers ‘Knowledge Exchange Hubs for the Creative good relationships, very good Bristol, Bath & North East Somerset, South Economy’ to develop new models, methods Gloucestershire and North Somerset, the and approaches for University/ creative first three will form a Mayoral Combined economy collaboration. relationships, and I feel I’m lucky Authority in 2017. Bristol and Bath are listed by NESTA as in the 10 UK creative centres. REACT developed a network of 700 regional academics and national creative companies. to be part of it. I think it’s a very Priority sectors in the region as defined by Within this network, it supported 53 LEP include Creative, Digital, Aerospace and collaborative projects featuring 57 creative Advanced engineering, Low Carbon and companies and 73 academics from the arts connected city, most of the time. High-Tech are the core of the UK’s future and humanities with £2.5 million for them economy. Addressing Creative, High-Tech to work together on over 25,000 hours of and Low Carbon priority sectors, an example collaborative R&D. They produced 86 new I think there’s huge willingness, is The Enterprise Zone in Bristol’s Temple products, 76 new pieces of software, 10 new Quarter. Other successful enterprises companies, 43 jobs, 25 academic research include The Engine Shed at Temple Meads, articles and over 90 presentations at I think there’s a passion for people which is a joint venture between Bristol City research conferences. This stimulated over Council and the University of Bristol and is £5.35 million in further investment in our a key business centre for many businesses projects, from private investment, sales and to share a sense of values and including SETsquared. commissions, plus additional research grants and £2.23 million in internal and external The LEP draws from a range of income investment in REACT legacy activities. philosophy around wanting to including the Department for Transport, Invest Bristol+Bath, West of England REACT is a product of the Bristol and Bath Growth Fund, EU, Arts Council of England, region, and would not have existed in its kind of put Bristol and the region and DigiTech business development current form if it weren’t for the presence programme. This has ongoing benefits on of a few key factors. REACT research shows the creative sector for future, for example that these factors are necessary for a on the map. the forthcoming Bristol Arena, expansion of creative hub to flourish: a healthy creative Engine Shed, and Regional Arts Incubator economy, long-term relationships between – Design Consultant, Bath Network (RAIN). Universities active in the creative economy sector and outward facing, innovative creative organisations; ‘third-spaces’ that offer neutral ground for collaboration.

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++ Appendix

Name Definition Table A2: productivity including AHRCsicS

BristolAndBath = 1 if the plant is located in the Bristol and Bath post codes (BS and BA, respectively) and equal to 0 (zero) otherwise. Including all firms Single-plant firms only GVAfc Gross value added at factor cost per worker in the business unit. 2012 2009 2012 2009 1 2 3 4 5 6 Turnover IDBR definition of turnover n 181,916 181,916 137,934 22,506 22,506 18,672 Employment The number of workers in the business unit. Bristol & Bath -0.055 (0.020)*** -0.060 -0.017 (0.027) -0.054 (0.053) -0.056 (0.055) 0.168 (0.065)*** (0.020)*** Capital The capital stock of the business unit in constant prices. Source: Richard Harris. Rest of England Control variable Control variable and Wales Hi Quals The proportion of the labour force that have either a first degree, higher degree, NVQ levels 4 and 5, HNC, HND, qualified Ln(Employment) 0.258 (0.003)*** 0.258 (0.003)*** 0.220 (0.004)*** 0.878 (0.007)*** 0.878 (0.007)*** 0.883 (0.009)*** teacher status, qualified medical doctor, qualified dentist, qualified nurse, midwife or health visitor in the local authority Ln(capital stock) 0.143 (0.002)*** 0.143 (0.002)*** 0.186 (0.002)*** 0.082 (0.005)*** 0.082 (0.005)*** 0.111 (0.007)*** district. Source: Neighbourhood Statistics. Ln(High -0.009 (0.013) -0.009 (0.013) 0.009 (0.016) 0.300 (0.033)*** 0.300 (0.033)*** 0.426 (0.036)*** qualifications) Other Quals 1 minus Hi Quals Other qualifications Control variable Control variable Pop Den The population density in the local authority district. Source: Neighbourhood Statistics. Ln(population 0.015 (0.002)*** 0.015 (0.002)*** 0.019 (0.003)*** 0.052 (0.006)*** 0.052 (0.006)*** 0.034 (0.007)*** density) UK owned Single =1 if the business unit is a UK-owned single site firm and equal to 0 (zero) otherwise. A control category. UK owned single plant Control variable Control variable UK owned MNC 1.927 (0.013)*** 1.927 (0.013)*** 2.229 (0.016)*** 0.674 (0.028)*** 0.674 (0.028)*** 0.473 (0.030)*** UK owned MNC =1 if the business unit is a UK-owned multinational and equal to 0 (zero) otherwise. Overseas owned 2.435 (0.014)*** 2.435 (0.014)*** 2.666 (0.017)*** 1.185 (0.044)*** 1.185 (0.044)*** 0.755 (0.046)*** Overseas Owned =1 if the business unit is owned by an overseas investor and equal to 0 (zero) otherwise. AHRCsic -0.257 (0.017)*** -0.261 (0.018)*** -0.563 (0.023)*** 0.100 (0.034)*** 0.099 (0.035)*** -0.023 (0.044) AHRCsic * – 0.142 (0.109) 0.214 (0.135) – 0.033 (0.227) -0.017 (0.277) AHRCsic = if the business unit is recorded as operating in the following SIC codes: 13200 – 13299, 17300 – 17399, 17500 – 17599, Bristol & Bath 18200 – 18299, 19000 – 19099, 20000 – 20099, 21100 – 21199, 22200 – 22299, 22300 – 22399, 24500 – 24599, 25100 – Multi-plant 3.496 (0.013)*** 3.496 (0.013)*** 3.696 (0.016)*** – – – 25199, 26100 – 26199, 28600 – 28699, 28700 – 28799, 31600 – 31699, 30000 – 30099, 29700 – 29799, 29500 – 29599, Ln(livelu) 0.002 (0.000)*** 0.002 (0.000)*** 0.001 (0.000)*** – – – 33400 – 33499, 31100 – 31199, 29700 – 29799, 31600 – 31699, 29200 – 29299, 39500 – 39599, 34100 - 34199, 34200 – F 61,480*** 55,892*** 31,406*** 5,729*** 5,092*** 4,277*** 34299, 35300 – 35399, 35500 – 35599, 36100 – 36199, 36200 – 36299, 36400 – 36499, 36500 – 36599, 36600 – 36699, 2 0.772 0.772 0.715 0.671 0.671 0.674 40100 – 40199, 41000 – 41099, 74200 – 74299, 45200 – 45299, 54300 – 54399, 45400 – 45499, 45200 – 45299, 50200 R – 50299, 51100 – 51199, 51400 – 51499, 51700 – 51799, 52100 – 52199, 52400 – 52499, 52600 – 52699, 22100 – 22199, 72200 – 72299, 92100 – 92199, 92300 – 92399, 92200 – 92299, 64200 – 64299, 72200 – 72299, 72300 – 72399, 72600 – 72699, 65100 – 65199, 65200 – 65299, 66000 – 66099, 70100 – 70199, 74100 – 74199, 74200 – 74299, 73100 – 73199, Table A3: productivity including AHRCsicS Including Design Council’s extension 74400 – 74499, 74800 – 74899, 74200 – 74299, 75200 – 75299, 80200 – 80299, 80300 – 80399, 80400 – 80499, 85100 – 85199, 85300 – 85399, 92300 – 92399, 92500 – 92599, 92600 – 92699, 92700 – 92799, 91100 – 91199, 91300 – Single-plant firms only Single-plant firms only 91399 and 93000 – 93099, and equal to 0 (zero) otherwise. 2012 2009 2012 2009 AHRCsic BandB = 1 if AHRCsic =1 and if the plant is located in the BS or BA postcode areas and equal to 0 (zero) otherwise. 1 2 3 4 5 6 n 181,916 181,916 137,934 22,506 22,506 18,672 AHRCsicDC = 1 if the plant operates within the AHRCsic codes or within the following SIC codes identified by the Design Council as also Bristol & Bath -0.055 (0.020)*** -0.061 -0.019 (0.027) -0.055 (0.053) -0.055 (0.055) 0.167 (0.065)** being design-related plants: 17200 – 17299, 18300 – 18399, 26200 – 26299, 26600 – 26699, 27400 – 27499 or 36300 – (0.020)*** 36399 and equal to 0 (zero) otherwise. Rest of England and Control variable Control variable Wales AHRCsicDC BandB = 1 if AHRCsicDC =1 and if the plant is located in the BS or BA postcode areas, and equal to 0 (zero) otherwise. Ln(Employment) 0.258 (0.003)*** 0.258 (0.003)*** 0.221 (0.004)*** 0.868 (0.007)*** 0.868 (0.007)*** 0.883 (0.009)*** 0.143 (0.002)*** 0.143 (0.002)*** 0.186 (0.002)*** 0.082 (0.005)*** 0.082 (0.005)*** 0.111 (0.007)*** Mfd = 1 if there is more than one plant in the business (a multi-plant dummy). Ln(capital stock) Ln(High -0.009 (0.013) -0.009 (0.013) 0.008 (0.016) 0.301 (0.033)*** 0.301 (0.033)*** 0.426 (0.036)*** livelu The number of plants which make up the business unit. qualifications) Other qualifications Control variable Control variable Notes: all variables that are continuous are estimated in natural logarithms. Unless otherwise stated, the dataset source is the ABS. Source: ONS. Ln(population 0.015 (0.002)*** 0.014 (0.002)*** 0.019 (0.003)*** 0.052 (0.006)*** 0.052 (0.006)*** 0.034 (0.007)*** density) UK owned single plant Control variable Control variable UK owned MNC 1.928 (0.013)*** 1.928 (0.013)*** 2.229 (0.016)*** 0.674 (0.028)*** 0.674 (0.028)*** 0.473 (0.030)*** Overseas owned 2.436 (0.014)*** 2.436 (0.014)*** 2.668 (0.017)*** 1.183 (0.044)*** 1.183 (0.044)*** 0.756 (0.046)*** AHRCsicDC -0.269 (0.017)*** -0.272 (0.017)*** -0.579 (0.022)*** 0.106 (0.033)*** 0.106 (0.033)*** -0.027 (0.042) AHRCsicDC * BandB – 0.148 (0.106) 0.246 (0.131)* – 0.007 (0.213) 0.010 (0.258) Multi-plant 3.494 (0.013)*** 3.494 (0.013)*** 3.693 (0.016)*** – – – Ln(livelu) 0.002 (0.000)*** 0.002 (0.000)*** 0.001 (0.000)*** – – – F 61,493*** 55,903*** 31,424*** 5,729*** 5,093*** 4,276*** R2 0.772 0.772 0.715 0.671 0.671 0.674

Notes: The dependent variable is the natural logarithm of GVAfc. Continuous independent variables are also expressed in natural logarithms (Ln). Intercept estimates omitted. ***, ** and * signify statistical significance at the 1%, 5% and 10% confidence levels respectively. Source: Authors’ estimates based on ABS database. 176 177 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016

Appendix

Table A4: turnover including AHRCsicS

Including all firms Single-plant firms only 2012 2009 2012 2009 1 2 3 4 5 6 n 1,652,656 1,652,656 1,055,587 1,395,237 1,395,237 864,735 Bristol & Bath -0.055 -0.058 0.002 (0.009) -0.054 -0.055 0.009 (0.007) (0.006)*** (0.006)*** (0.006)*** (0.006)*** Rest of England and Control variable Control variable Wales Ln(Employment) 0.811 (0.001)*** 0.811 (0.001)*** 0.760 (0.002)*** 0.955 (0.001)*** 0.955 (0.001)*** 0.924 (0.001)*** Ln(capital stock) 0.006 (0.000)*** 0.006 (0.000)*** 0.035 (0.001)*** -0.003 -0.003 0.025 (0.001)*** (0.001)*** (0.001)*** Ln(High qualifications) 0.008 (0.003)*** 0.008 (0.004)*** -0.015 (0.005)*** 0.102 (0.003)*** 0.102 (0.003)*** 0.116 (0.004)*** Other qualifications Control variable Control variable Ln(population density) 0.031 (0.000)*** 0.031 (0.000)*** 0.036 (0.001)*** 0.033 (0.001)*** 0.033 (0.001)*** 0.040 (0.001)*** UK owned single plant Control variable Control variable UK owned MNC 1.441 (0.004)*** 1.441 (0.004)*** 1.756 (0.005)*** 0.601 (0.004)*** 0.601 (0.004)*** 0.561 (0.005)*** Overseas owned 2.362 (0.006)*** 2.362 (0.006)*** 2.564 (0.008)*** 1.255 (0.010)*** 1.255 (0.010)*** 1.173 (0.011)*** AHRCsicS -0.037 -0.038 -0.052 (0.005)*** -0.001 (0.004) -0.001 (0.004) 0.027 (0.004)*** (0.004)*** (0.004)*** AHRCsicS * Bristol & – 0.043 (0.025)* 0.120 (0.033)*** – 0.026 (0.022) 0.089 (0.027)*** Bath Multi-plant 2.775 (0.004)*** 2.775 (0.004)*** 2.851 (0.005)*** – – – Ln(livelu) 0.002 (0.000)*** 0.002 (0.000)*** 0.001 (0.000)*** – – – F 99,999*** 99,999*** 99,999*** 99,999*** 99,999*** 93,245*** R2 0.806 0.806 0.788 0.462 0.462 0.493

Table A5: turnover including AHRCsic Including Design Council’s extension

Including all firms Single-plant firms only 2012 2009 2012 2009 1 2 3 4 5 6 n 1,652,656 1,652,656 1,055,587 1,395,237 1,395,237 864,735 Bristol & Bath -0.055 -0.058 0.002 (0.009) -0.054 -0.055 0.009 (0.007) (0.006)*** (0.006)*** (0.006)*** (0.006)*** Rest of England and Control variable Control variable Wales Ln(Employment) 0.811 (0.001)*** 0.811 (0.001)*** 0.760 (0.002)*** 0.955 (0.001)*** 0.955 (0.001)*** 0.924 (0.001)*** Ln(Capital stock) 0.006 (0.000)*** 0.006 (0.000)*** 0.035 (0.001)*** -0.003 -0.003 0.025 (0.001)*** (0.001)*** (0.001)*** Ln(High qualifications) 0.008 (0.003)*** 0.008 (0.004)*** -0.015 (0.005)*** 0.102 (0.003)*** 0.102 (0.003)*** 0.116 (0.004)*** Other qualifications Control variable Control variable Ln(Population density) 0.031 (0.000)*** 0.031 (0.000)*** 0.036 (0.001)*** 0.033 (0.001)*** 0.033 (0.001)*** 0.040 (0.001)*** UK owned single plant Control variable Control variable UK owned MNC 1.441 (0.004)*** 1.441 (0.004)*** 1.756 (0.005)*** 0.601 (0.004)*** 0.601 (0.004)*** 0.561 (0.005)*** Overseas owned 2.362 (0.006)*** 2.362 (0.006)*** 2.564 (0.008)*** 1.255 (0.010)*** 1.255 (0.010)*** 1.173 (0.011)*** AHRCsicDC -0.037 -0.038 -0.059 -0.001 (0.004) -0.001 (0.004) 0.027 (0.004)*** (0.004)*** (0.004)*** (0.005)*** AHRCsicDC * Bristol & – 0.043 (0.025)* 0.118 (0.032)*** – 0.022 (0.022) 0.081 (0.027)*** Bath Multi-plant 2.775 (0.004)*** 2.775 (0.004)*** 2.851 (0.005)*** – – – Ln(livelu) 0.002 (0.000)*** 0.002 (0.000)*** 0.001 (0.000)*** – – – F 99,999*** 99,999*** 99,999*** 99,999*** 99,999*** 93,246*** R2 0.806 0.806 0.788 0.462 0.462 0.493

Notes: The dependent variable is the natural logarithm of turnover. Continuous independent variables are also expressed in natural logarithms (Ln). Intercept estimates omitted. ***, ** and * signify statistical significance at the 1%, 5% and 10% confidence levels respectively. Source: Authors’ estimates based on ABS database. 178 179 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION BRISTOL + BATH x DESIGN: FINAL REPORT NOVEMBER 2016 Credits

This report is located in and draws on an extensive literature The research and investigative team review. This edition references only major sources and provides UWE BRISTOL only an indicative bibliography. A fully referenced version can Professor Jon Dovey (REACT), Jess Hoare, be found on the BBxD web-site. Professor Stephen Hoskins (Centre for Fine Print Research), Ellen Hughes, Verity Lewis, Dr Pei-Ling Liao, Dr Aaron Mo, Adrienne Noonan (School of Art and Design), bristolbathdesign.org Professor Carinna Parraman (Centre for Fine Print Research), Dr Glenn Parry (Faculty of Business & Law), Almudena Suarez Perez, Professor Don Webber (Bristol Business School)

BATH SPA UNIVERSITY (BATH SCHOOL OF ART AND DESIGN) Dr Graham McLaren, Dr Kayla Rose, Professor Anita Taylor

UNIVERSITY OF BRISTOL Professor Chris McMahon (Department of Mechanical Engineering)

Final report editors: Pat Triggs, Ellen Hughes, Carinna Parraman Final report design: Isobel Colebrook Design of Enterprise Images, Ecosystem and History Timeline: Ciaran Hughes Printing: Taylor Brothers Photography: Max McClure Filming: Fabian Martin and Mike Sides Film Editing: Bronwyn Harvey PR: Hannah Leverton, Leverton Events and Communications Ltd. App development: Nat Alt and Owen Davies, Arcfire

SPECIAL THANKS TO: Prof Martin Boddy, Richard Bowles, Jessica Clarke, Roger Conlon, Gavin Copeland, Hazel Edwards, Prof Alex Gilkison, Otto Hauser, Kate Hughes, Paul Jones, Susan McMillan, Joanna Montgomery, Bob Mytton, Deanna Poolman, Helen Rana, Caroline Simcock, Almudena Suarez Perez, Nick Sturge, Nathalia Valladares

All designers who were interviewed and filmed, Executive team at UWE, Everyman Cinema, Invisible Circus, The Loco Klub, Hart’s Bakery

Direct quotations from participants and mention of specific activities are not attributed. Anonymity was guaranteed to all participants. Consent was secured for any named sources.

180 181 CHALLENGE: TO UNDERSTAND THE ECONOMIC AND CULTURAL VALUE OF DESIGN IN THE BRISTOL AND BATH REGION

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