First published 2007 by Ashgate Publishing
Published 2016 by Routledge
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Copyright 2007 John Montgomery
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British Library Cataloguing in Publication Data
Montgomery, John
The new wealth of cities : city dynamics and the fifth wave
1. City planning 2. Urban economics
I. Title
307.1216
Library of Congress Control Number: 2006931600
ISBN 9780754647898 (hbk)
ISBN 9780754674153 (pbk)
Books of this nature cannot be written without the help of other books, or of other people. There is no research grant or academic department to thank for more material forms of support, but there is a list of good friends and others who have helped over the years.
At various times in my career I have been much influenced by the people I have worked with. Early influences included Bob Ross, Megan Munro, Phil McGhee, Cliff Hague and Patsy Healey. During my time at the Greater London Council in the early 1980s, I found myself a colleague of such leading thinkers as Robin Murray, Maureen Mackintosh, George Nicholson, Bob Colenutt, Drew Stevenson, Peter Newman, Iain Tuckett, Andy Thornley and my friend Michael Synnott. It was there that I was first introduced to economic sector studies in the form of the Greater London Industrial Strategy. Geoff Mulgan and Ken Worpole would introduce me to the cultural industries in around 1985. I went on to work with Robin Murray, Sarah Bissett-Johnson, Michael Ward and others on the South East England Economic Development Strategy. Nicky Brigginshaw was also a great influence at this time.
In 1986 I became friendly with Ken Worpole and first met Charles Landry with whom I worked closely from 1988 to 1991. Ken also introduced me to the phenomenal Franco Bianchini, and we collaborated on City Centres, City Cultures (1987) together. Other colleagues at Comedia I recall with admiration and affection are Liz Greenhalgh and Simon Blanchard.
I set up Urban Cultures Ltd in 1991, as a breakaway from Comedia (these things happen) with Tony Colman. Important collaborations during the early 1990s included working with Peter Luxton, Jean Horstman, John Lyall, Bruce McLean, Madeline Simms, Paul Owens, Janet Mein, Clive Bell, John Punter, Jo Burns, Phil Griffin, Andy Lovatt and Justin OConnor. This was the time of our Temple Bar project, the Manchester Cultural Strategy, the 24 Hour City conferences and designs for new public squares in London and Yorkshire; and also my membership of the London Arts and Urban Regeneration Group with Nicky Gavron, Julia Isherwood and Tony Cumberbirch amongst others.
By this time I was working in urban design. I was asked by a client, Tony Kemp of Blue Circle Properties, to design a piece of city at Ebbsfleet in Kent. We had been introduced by my old university friend Chris Hall. Fortunately for me, others working on this very large project included David Lock and the very special Will Cousins, and also the economist Bridget Rosewell and Jason Prior. Around about this time I met Jan Gehl for the first time. Much of the 1990s was spent working on area regeneration, cultural and creative industry quarters (Sheffield, Manchester, Glasgow, Belfast and Dundee) and on master-planning. Colleagues and friends dating from this time include Paul Skelton, Matthew Conduit, Owen OCarroll, Pauline de Silva, Mark Pennington, Kevin Murray, Mick Timpson, Janet Brenton and Doug Wheeler. There was a short stint at Reading University. I did manage to publish some refereed articles, and I have retained great respect for the late Michael Breheny, Doug Hart, Alan Rowley, Joe Doak and Prof Lyn Davies, as well as John Delafons
By the late 1990s I was working mostly on ways to manage and regulate the evening economy of cities, and embarked on a number of important collaborations with John Whyte and Chris Rawlinson, Alan Tallentire and Nick Williams. My article on caf culture grew out of somewhat relaxed discussion with Paul Opacic, Bernie Kilmartin, Brian Pierce and Peter Colman in Le Cochonnet in Maida Vale. Other living examples of caf society from 1990s London were Leo McGlaughlin, Maggie Opacic and Val Kitchen.
In 1998 I was invited to Australia by Peter Dungey and Barbara Meldrum to give the key-note address to the Urban Design Forum conference on night-time cities. Visiting Australia had a profound affect on me, and I was very pleased to be invited back to work on Adelaides lighting plan with Wendy Bell and Phil Keane. I was invited to speak at the City as a Stage conference in Adelaide in 2000, with the likes of Jan Gehl, Charles Landry, Bea Campbell and Peter Sellers (then the Adelaide Festival director). That same year, I also spoke at the City Edge 2 conference in Melbourne, forming a friendship with Rob Adams and his wife Rosie in the process. Jane Andrews, Susan Law, Steve Hamnett and Greg Mackie were also helpful and kind. Our good friends in Adelaide who encouraged me to write this book are Gray Hawk, Susanne Carmody, Alison Dunn, David Reid, Sally Turner and Alan Merchant, Phillip White, and Joe and Jessica Dames. Without their pushing me and the vital help of Hamish Barrett, thanks to Sallys prompting this book would never have been written.
Most of the hard graft on this book was undertaken during the Australian summers of 2004, 2005 and 2006, that is from the day after Boxing Day through to the end of February. During the rest of the year I work to earn fees, but as ever this has resulted in new inspiration and new friendships. In the past two years, since moving to northern New South Wales, I have had the good fortune to work with Ken Maher, Sara Lee, David Borger, Anita Brown, Malcolm Snow, Cathy Hunt, Sarah Starke, Ian James, Virginia Ross, Tanya Neville, Jon Lindsay, Barbara Heaton, Ed Duc, Deborah Mills, Graeme Burns, Tiffany Lee-Shoy, Pauline Peel, Scott OHara, Paul Graham, Sue Clarke, Jim Holdsworth and Gabrielle Castellan.
From a young age, I have been fascinated by the writings of Jane Jacobs, both on cities and economic development. Her work and that of Michael Porter, Robin Murray, Robert Beckman and Peter Totterdill has underpinned much of the economic theory referred to in this book. As well as Ken Worpole and Franco Bianchini, I have drawn heavily on the work of Raymond Williams and Matthew Arnold in my understanding of culture. Peter Halls book
