“An attractive place doesn’t have to be a big city, but it has to be cosmopolitan—a place where anyone can find a peer group to be comfortable with, and also find other groups to be stimulated by; a place seething with the interplay of cultures and ideas; a place where outsiders can quickly become insiders.”
Richard Florida, Director of Martin Prosperity Institute, Professor of Business and Creativity, Rotman School of Management, University of Toronto, in The Rise of the Creative Class, 2003.
10.1. Auckland is the most culturally diverse city in the country, with most immigrants settling here. The large Māori population and range of different cultural communities contribute to what is distinctive about Auckland as a major city in the Asia-Pacific region.
10.2. Local government is required to consider the cultural well-being of communities under the Local Government Act 2002, and this chapter explores how that could be addressed. It looks at the social, cultural, and economic contribution made by the many cultural communities of Auckland, and considers how this might best be nurtured and promoted by local government. The chapter also emphasises the need for a regional approach to arts and recreation.
10.3. The culture of a city is one of those elements that define its attractiveness to residents, to those contemplating moving to it, and tourists. The word “culture” is commonly used in two ways. It is used to describe diverse people and communities, and it is in that sense that the word is primarily used in this chapter. The second way is to describe a certain group of activities primarily associated with the arts. In parts of this report the word is used in that sense as well. The Commission is satisfied that it is sufficiently clear from the context in which sense the word is being used.
10.4. A city’s cultural life reflects the people who live in it. Their interests, lifestyles, values, and history determine the festivals they celebrate and the range of foods they eat and sell, as well as the style of architecture, the music, theatre, arts, and sporting events showcased in a particular city.
10.5. In short, culture provides a city’s identity. It gives a city life. It defines. It connects. It identifies. It brands. It attracts or repels outsiders. Without it, communities would have no markers, no defining characteristics, and the cities they inhabit would be no more than a collection of buildings and people.
10.6. A city’s diversity is determined by the number of unique communities housed within it. Communities of interest can be based on factors as varied as ethnic origin, sexual orientation, age, religion, or lifestyle choice. People have a wide range of diverse leisure interests which must be catered for in a liveable city.
10.7. The more diverse a city’s population, the more complex is its culture, as each community seeks to express itself. A varied and vibrant cultural scene is a key feature and drawcard of the world’s great polyglot cities such as London, Paris, or New York.
10.8. The diversity of Auckland’s population is an asset for Auckland and New Zealand as a whole, augmenting the country’s base of skills, information, and contacts. While much of the research on diversity focuses on multi-ethnic populations, other groupings with a common identity such as youth, seniors, the gay community, or people of different faiths also add to the mix of a cosmopolitan city.
Most innovations nowadays come not from individuals, but from groups of talented people sparking off each other – and foreigners with different ideas, perspectives and experiences add something extra to the mix. If there are 10 people sitting around a table trying to come up with a solution to a problem and they all think alike, then they are no better than one. But if they all think differently and bounce new ideas and reactions off one another, they can solve problems better and faster, as a growing volume of research shows.1
10.9. Migration is a major reason for the increasing diversity of Auckland’s population, as it is for many major international cities that participate in international labour markets.
10.10. The British Council’s publication Towards Open Cities examines the importance of migration for cities, and analyses the qualities of cities that are successful in attracting and retaining migrants. It describes the benefits of international populations as follows:
Such populations … are not only seen to contribute to the labour force, but also add enormously to the quality of life and the wider attractiveness of the city for international firms, events and investors. In certain economic niches international talent is essential and a multi-lingual and globally connected labour force can help promote international economic roles in a city.2
10.11. A city’s “openness” refers to the local conditions that appear to attract and retain these international populations over time. Towards Open Cities identifies four indicators of openness:
10.12. Cities expert Richard Florida takes a slightly different approach, identifying the most successful and innovative cities as those which are able to attract a particular type of highly mobile person, which he calls the “creative class”.4 He mentions the following consistent themes emerging from his research:
10.13. Auckland has a strong creative community, significantly higher than other centres in the country. Thirty-nine percent of New Zealand’s creative sector workforce is located in Auckland city. It includes industries and businesses such as architecture, advertising, graphic design, screen production (including film and television), radio, theatre, music production, fashion, art, and publishing. Some of the media and artistic industries are focused on certain cultural groups, such as Māori, Pasifika, or Asian people. A stated aim of the Auckland City Council and the creative industry is to use “Auckland’s unique cultural mix as a driving force behind creative output” in the region.6
10.14. Between 2000 and 2006, employment growth of the creative industry sector in Auckland was nearly three times the national rate for the creative sector. The creative sector’s economic contribution to Auckland GDP is estimated at over $1.7 billion for 2006, about 7% of the city’s total GDP.7
10.15. Despite the benefits diversity brings to cities as outlined above, the existence of a diverse population is not by itself a precursor for success. In fact, as outlined in Chapter 1, a city’s social cohesion can be threatened if differences and tensions between people destabilise communities. Ensuring that all groups have the opportunity to express their unique culture and values is important, not just for their own well-being, but also to ensure that the wider society understands alternative ways of thinking and learns to accommodate difference rather than fear it. The Commission observed that some cities such as Toronto have actively developed welcoming and integration policies for their migrants, to ensure their rapid assimilation into the community. This has beneficial consequences economically and socially. (See Chapter 7, “Economic Development” and Chapter 9, “Promoting Social Well-Being”.)
10.16. In addition, a vibrant and well-supported approach to arts and recreation which reflects community priorities can become a key factor in a city’s attractiveness to outsiders, be they immigrants, tourists, or businesses.
10.17. Towards Open Cities identifies social and cultural attractions as one of the magnets that draw people to the city. This is particularly so with smaller cities such as Auckland, which do not have the international profile of cities like London or New York. As the publication says,
Cities need to market not only their economic opportunities, but also their social and cultural attractions. This is why so many cities now develop internationalisation strategies and why they see, for example, hosting global events (EXPOs, Olympics, Cultural Festivals, etc) and building a stronger visitor economy, or international student base, as so important.8
10.18. Richard Florida, in The Rise of the Creative Class, identifies “quality of place” as a powerful factor in decisions made by creative people to move to a city. Florida emphasises the need for places to have a people climate – or a creativity climate – as well as a business climate.9 He identifies three dimensions to quality of place:
10.19. Florida emphasises that it is not just the formal artistic and sporting attractions that are of importance. Equally as important are the informal activities that are experienced at street level in a city that places a high value on these qualities – chancing upon a busker in a leafy street or admiring the architecture of a heritage precinct. The Commission observed many of the qualities referred to above in cities that it visited such as Melbourne, Vancouver, Seattle, and Toronto.
10.20. Local government planning and urban design policies can have a direct influence on this. Influential urbanist Jane Jacobs argued against mass urban renewal that separates industrial, commercial, and residential areas, destroying communities and innovative economies by creating isolated, unnatural urban spaces. Instead she advocated a dense and mixed-use urban aesthetic that would preserve the uniqueness inherent in individual neighbourhoods.11
10.21. Auckland has a strong cultural life with several active professional theatre groups and dance groups. The Auckland Philharmonia Orchestra has been well established for many years, and more recently the Auckland Festival Trust has been enlivening the arts scene. Auckland City Council funds (with sponsors) Music in Parks, a series of free concerts throughout the summer. Auckland hosts New Zealand Fashion Week each year. Increasingly the region’s diversity is being expressed through a broadening range of cultural events such as the Hero Parade and the Diwali Festival. From the recreational point of view, Auckland has facilities for active and passive recreation. The city has some excellent sports facilities, and for those who prefer their activities to be independent rather than organised, Auckland’s wonderful natural environment provides opportunities for surfing, tramping, mountain biking, and sailing which are at least equal to the best in the world. The Auckland region also has a physical activity and sport strategy with supporting intersectoral infrastructure.12 Nevertheless, the arts have suffered from funding difficulties, and both arts and recreation in its broadest sense suffer from a lack of regional vision. These issues are addressed later in this chapter.
10.22. The common thread running through this analysis is the impact of place in drawing people to a city, and the role that cultural expression plays in making a particular city a uniquely attractive destination.
10.23. What Auckland might lack in terms of infrastructure or specialised labour force skills by comparison with other cities, is partly compensated for by the city’s lifestyle including cultural and recreational features. And it is this high-quality lifestyle that is a key attractor for migrants and businesses relocating to New Zealand. 10.6.
10.24. The Local Government Act 2002 requires local government to promote cultural well-being, which is defined by the Ministry for Culture and Heritage as
the vitality that communities and individuals enjoy through:
- participation in recreation, creative and cultural activities; and
- the freedom to retain, interpret and express their arts, history, heritage and traditions. …
At its core, cultural well-being is about activities and initiatives such as:
- support for arts and cultural expression;
- protecting cultural associations with our natural environment;
- the provision of library and archival services;
- celebrating the diversity within communities;
- the provision and maintenance of sports and recreational facilities and events; and
- conserving heritage buildings as much as urban space and rural landscapes.13
10.25. Local government activity in this area can be seen in the halls, the monuments, the street architecture and paving, the festivals and enhanced town centres, and even public toilets, which embody the cultural values of particular communities.
10.26. The choices made by local government about which arts groups to support or how urban spaces are to be preserved is determined by the identity, values, and beliefs of the communities it serves.
10.27. The Auckland Regional Council identifies three types of cultural activities:
10.28. Currently Auckland’s local government decisions about culture and recreation are made at both regional and territorial authority level. Broadly speaking, the Commission considers that the territorial authorities do a good job of identifying local needs and meeting them. Looking to the future, the cultural and recreational needs of Auckland’s newest groups will be recognised first at local level. The Pasifika Festival is a good example of what started as a small-scale cultural event 16 years ago and is now the largest Pacific event in the world, attracting over 200,000 people. The Chinese New Year celebrations involve thousands of people, and culminate in the popular annual Auckland Lantern Festival held in Albert Park.
10.29. A strength of local council involvement in culture and recreation has been the development of productive partnerships by some councils with local groups outside government to develop tailored responses for local communities. Manukau City, for example, recognising that cost is likely to be a barrier for many of its residents to engage in recreational activities, is one of the few cities in New Zealand to offer free swimming pool access. It has also partnered with the John Walker “Find Your Field of Dreams” Foundation and works with a range of organisations such as Counties-Manukau Sports Trust to support young people to become more involved in sport and physical activity.15
10.30. The problems lie at regional level. The absence of strong regional leadership means that getting consensus on which cultural and recreational activities are regionally significant and coordinating resources (including funding) is an exercise in frustration. This was clearly shown by the inability of Auckland’s local government to agree on a national stadium in 2007 in preparation for the Rugby World Cup in 2011. While the Auckland Regional Council is responsible for the regional park network, other cultural and recreational activities of regional significance are funded on an ad hoc basis, sometimes by the regional council and often by the Auckland City Council, as it hosts many of the region’s significant cultural and sporting facilities.
10.31. As described in Chapter 9, the Auckland Regional Physical Activity and Sport Strategy (“ARPASS”) was developed with support and formalised commitment from all of the territorial authorities in the region, the four regional sports trusts, and Sport and Recreation New Zealand. The Auckland Regional Council and the Ministry of Health also participate as non-funding partners. An independent organisation with supporting infrastructure and governance was established to lead and coordinate implementation of the strategy. Despite these arrangements, implementation has had mixed success and failed to deliver what the region needs in some cases. Ineffectual accountability arrangements and the absence of a funding stream for regional initiatives has meant some partners have committed to full implementation while others have totally ignored the strategy.
10.32. Solutions have been developed to try to meet regional needs within the constraints of the current structures. For a number of years there has been debate between territorial authorities over a fair funding system for regional cultural amenities. Some territorial authorities were unwilling to fund regional institutions that they did not consider were of direct benefit to their constituents.
10.33. The Auckland Regional Amenities Funding Act, passed into law in August 2008, is designed to address this.16 The need for the Act illustrates the difficulty of providing adequately for activities of regional significance in the absence of a regional strategy. It was developed to secure sustainable funding of organisations that provide arts, education, rescue, or other community facilities and services that are used throughout the Auckland region, such as museums, theatres, surf lifesaving, and rescue helicopters. Such organisations are able to apply for regional funding from a levy raised by the territorial authorities. With the establishment of the proposed Auckland Council, the Auckland Regional Funding Amenities Act 2008 will become redundant, or at least largely so. The Commission recommends that the Establishment Board for the Auckland Council (outlined in Chapter 33, “Managing the Transition”) give consideration to the question of whether the Act should be repealed in whole or in part upon the establishment of the Auckland Council.
10.34. The chapter now considers the nature of the changes that might, first, enhance the cultural and recreational life of the region, and second, foster the diversity of its communities.
10.35. The importance of cultural and recreational facilities, programmes, information, and events was emphasised in a number of submissions made to the Commission. For example, it was told,
it is important to observe that such artistic activities are not superficial to the effective global city. Its quality of life is critical to attracting talent that its industries require.17
10.36. The Commission received submissions from the ARPASS, Arts Advocates Auckland Inc, Arts Council of New Zealand, ASB Community Trust, a group of major Auckland arts organisations, the Archaeological Association, Tourism Auckland, and the Committee for Auckland, all emphasising the importance of arts and recreation to Auckland if it is to thrive as a city. The same point was made by Sport and Recreation New Zealand and by the Ministry for Culture and Heritage.18
10.37. There was almost complete unanimity in the submissions made to the Commission on the need for a strengthened regional approach to arts and recreation. The importance of delivery at the local level was emphasised, but the need for policy and major decisions to be made at the regional level was seen as crucial. ARPASS, for example, identified as a key principle in regional governance for recreation and sport, the development of “a Regional entity that plans for (policy and strategy) and implements (delivers) regionally identified projects/functions and acts as a regional voice for sport and recreation issues”.19 Arts Advocates Auckland, an umbrella organisation established to provide a region-wide voice for arts professionals, administrators, and practitioners, emphasised that there should be consistent planning for investment in arts infrastructure and commitment to it on a continuing basis.20 It said that the absence of a regional and strategic vision that recognised the need to house and equip arts activity in Auckland has led to a critical lack of arts infrastructure in the region. An example is the lack of theatres of an appropriate seating capacity to cater for the needs of arts professionals.10.38. Tourism Auckland referred to missed opportunities, which included the failure to provide a major stadium in the city centre, the loss of major events such as the V8 Supercars, the Ellerslie International Flower Show, and Ironman New Zealand, and the failure to deliver an appropriately scaled convention centre for the region.21
10.39. The Committee for Auckland presented several case studies to the Commission.22 One of those related to stadiums and the other to an exhibition convention centre. It was noted that each have been accepted as important to Auckland and have been discussed for many years. Implementation has been handicapped by the lack of a regional policy and view. Further details of submissions on these topics made to the Commission may be found in Report, Volume 3: Summary of Submissions, Chapter 19.
10.40. The Commission has no doubt about the validity of the submissions made to it on these matters. Auckland must have a regional approach to the delivery of facilities for arts and recreation, and a regional policy in relation to such matters. There are some facilities that work well and should continue as at present. The Auckland Museum is an example. For many arts organisations, the problem is continuity of funding and adequate support. Auckland City has played a major role in the support of the arts in Auckland but other cities and districts have been reluctant to make an appropriate contribution. A frequently cited example is the Auckland Philharmonia Orchestra. The New Zealand Herald is quoted as saying that North Shore residents make up 23% of the Auckland Philharmonia’s audience yet their city council gives the orchestra an annual grant of just $25,000 or 3.1% of the orchestra’s local government funding. Auckland City, the home of 52% of the audience, gives $500,000 – 92% of regional funding.23 The fragmented approach to the construction of stadiums throughout Auckland is another example frequently mentioned, each city wanting its own stadium without regard to an appropriate regional strategy.
10.41. In the submission from the Champions for Auckland, the following design principles for evaluating culture were identified:10.42. Local government has a role in encouraging a varied and vibrant cultural scene. It can encourage and support festivals celebrating different ethnicities and cultures. It can support and promote sporting events. Provision for mixed uses in the city centre promotes activities for work and play where people live. Above all, local government needs to display an open attitude to the diverse views of the communities that make up the city.
10.43. Equally as important is Auckland’s cultural heritage. Reference has already been made to this in the environment chapter but in this context it is worth noting the submission of the Archaeological Association.25 That association refers to the management of historic heritage by local government. It regards the Auckland Regional Council and the Auckland City Council as highly effective in their management of historic heritage. It regards the other three cities (North Shore, Waitakere, Manukau) as partially effective and the districts (Rodney, Papakura, Franklin) as the least effective. It says,
a considerable part of the archaeological heritage of the Region is in Franklin and Rodney District Councils. The mismatch between the need and the ability to take on the role needed is most obvious here. This mismatching of resources to need is not just an Auckland Region situation but some correction at the Auckland Region level would be welcome.
The same submission noted that Auckland’s volcanic cones are in the process of consideration for nomination as a World Heritage site under the Unesco convention on world cultural and natural heritage sites.
10.44. Auckland is clearly a highly attractive destination for talented migrants – 39% of residents were born offshore and more migrants than native-born Aucklanders hold bachelors degrees.26 Yet in New Zealand, internationally qualified people are more likely to be unemployed or underemployed in jobs well below their skill level. Failure to employ and integrate migrant communities represents lost economic opportunity and suggests that our society is not as open to diversity at it could be. The Committee for Auckland’s “Growing Auckland Growing New Zealand” report notes that practical interventions such as mentoring, paid internships, work placement, and job readiness programmes have proved effective internationally and could be readily implemented in Auckland.27
10.45. Towards Open Cities identifies the importance of leadership factors, in particular the degree of proactivity in city leadership in setting and pursuing an agenda of openness, diversity, and tolerance and articulating the benefits of openness.28 “Leadership of cities … needs to articulate powerfully the potential benefits to the city as a whole of having a diverse population base”.29 In Auckland’s case diversity includes not only migrants of different ethnic origins, but also other communities, such as the gay community or different religious groups, which are attracted to the city.
10.46. In many large international cities, mayors are active in promoting acceptance of diversity. For example in Toronto, Mayor Miller’s 2010 vision document sees a leadership role in building “strong, inclusive and diverse communities in all parts of the city”. Initiatives include creating a civic engagement office, ensuring multilingual access to city services, and mentorship programmes to help internationally trained professionals find work in their fields of expertise.30
10.47. In this country, there are a variety of public and non-profit entities working with migrants to mentor them into employment and to assist integration, including the Department of Labour, Refugee Settlement Agencies, the Office of Ethnic Affairs, church groups, and the Tindall Foundation’s Omega Project working with the Committee for Auckland. Local government in Auckland needs to collaborate with these agencies. Its role should not be to take successful private or not-for-profit programmes into the public sector. It does, however, have an advocacy role in promoting the acceptance of immigrants. It can assist with research into employment opportunities, and through the mayor can be a champion for the integration of new migrants into our community. The motivation must be “let’s fix it”. It is important to ensure migrants are welcomed, have the opportunities to learn English, and are assisted with housing and with the opportunity to obtain employment that matches their qualifications and skills. Success in these areas is crucial to Auckland’s economic and social well-being.
10.48. The Commission envisages the Auckland Council will take a more strategic and coordinated approach to promoting diversity and funding and managing cultural activities, events and facilities, as described below.
10.49. The Commission would see benefit in proactive leadership on diversity issues at the highest level of the Auckland Council. The mayor and council must promote and articulate the benefits of the city’s diversity, and ensure the needs of Auckland’s diverse communities, including different ethnic groups, the gay community, different age groups, and religious groups, are reflected in local government’s economic development, social well-being, and arts and culture policies. In their dealings with central government and the private sector they should also be advocates of meeting the needs of Auckland’s diverse communities, especially those of migrants. The council should actively promote the welcoming and integration of migrants into the city.
10.50. The Commission considers that the unitary nature of the Auckland Council should provide for more efficient decisions and funding allocation for meeting cultural well-being needs at a regional level. The Auckland Council would have a committee with particular responsibility for policies in relation to arts and recreation, the development of regional strategies, identification of what should be done locally, and providing a coordinated approach to funding. Promotion of the physical activity and sport components of recreation will be the joint responsibility of the Arts, Recreation and Parks Committee and the Social Issues Committee.
10.51. In the Commission’s view, the arts and recreation area is one where full use should be made of expert advice and of management by interest groups. The Arts and Recreation Committee of the Auckland Council should be advised by at least two expert bodies, one relating to the arts and the other to recreation and sport. The organisations that operate in these areas should be left in place if working efficiently. Their main need will be a more regional and secure approach to funding. The Arts and Recreation Committee should be proactive in seeking to understand the diverse cultural and recreational needs of Aucklanders, consulting widely with local councils, Māori Auckland Council representatives, the proposed Pacific and Ethnic Advisory Panels, and other representative groups.
10.52. The Commission notes that all regional assets, including cultural and regional facilities such as stadiums, parks, and museums, will be transferred to regional ownership and an asset management strategy developed, as outlined in Chapter 20, “Funding and Financial Management Arrangements”. The Arts and Recreation Committee will need to
10.53. have input into how cultural assets will be managed. The Auckland Council may wish to consider establishing a council-controlled organisation to hold and operate the regional arts, entertainment, convention, and other major event facilities.
10.2. Local councils will be responsible for delivering cultural and recreational activities to meet the needs of their communities, utilising funding allocated within their budget. Their place-shaping function also gives local councils responsibility for engaging with their diverse communities and feeding their priorities into the regional strategy.
Auckland needs governance structures that promote the benefits of diversity and support culture and recreation.
10A The Mayor of Auckland should take a leadership and advocacy role in promoting and welcoming diversity, and encouraging acceptance of migrants and minority groups in Auckland.
10B The Auckland Council should establish two advisory panels, one relating to the arts and the other to recreation. With the assistance of the advisory panels, it should develop strategies for regional arts and recreation activities and their associated funding.
10C Local councils should be responsible for implementing culture and recreation policies in their communities, partnering with local groups where appropriate, and representing the views of local communities at regional level.
10D The Auckland Council should consider establishing a council-controlled organisation (“CCO”) to hold and to operate the regional arts, entertainment, convention, and major event facilities.
1. Phillipe Legrain, economist and journalist, quoted in Committee for Auckland, Growing Auckland, Growing New Zealand, November 2008, p. 16 (available at www.aucklandnz.org, accessed March 2009).
2. Clark, Greg, Towards Open Cities, British Council, Madrid, 2008, p. 11 (available at http://opencities.britishcouncil.org/web/download/conference/towards_opencities.pdf, accessed February 2009).
3. Ibid., p. 61.
4. Florida, Richard, The Rise of the Creative Class, Hazard Press, Christchurch, 2003, p. 8. The “creative class” includes people in science and engineering, architecture and design, education, arts, music, and entertainment, whose economic function is to create new ideas, new technology, and/or new creative content.
5. Ibid., p. 218.
7. Ibid., p. 23.
8. Clark, Towards Open Cities, p. 34.
9. Florida, The Rise of the Creative Class, p. 7.
10. Ibid., pp. 231–232.
11. Jacobs, Jane, The Death and Life of Great American Cities, Random House and Vintage Books, New York, 1961.
12. ARPASS, Auckland Regional Physical Activity and Sport Strategy, 2005.
13. Ministry for Culture and Heritage, “Cultural Well-Being and Local Government: Report 1: Definitions and contexts of cultural well-being” (www.culturalwellbeing.govt.nz, accessed February 2009).
14. “Policy Framework for Contributing to Cultural Organisations”, paper prepared for the ARC Regional Strategy and Planning Committee, 6 December 2005, p. 26.
15. The John Walker “Find Your Field of Dreams” Foundation, www.fieldofdreams.org.nz.
16. The Act applies to the Auckland Observatory and Planetarium Trust Board, Auckland Philharmonia, Auckland Regional Rescue Helicopter Trust, Auckland Theatre Company Limited, Coastguard Northern Region Incorporated, New Zealand National Maritime Museum Trust Board, New Zealand Opera Limited, Surf Life Saving Northern Region Incorporated, The Auckland Festival Trust, and WaterSafe Auckland Incorporated, with the Auckland Zoo to be included once it is established as a separate entity from the Auckland City Council.
17. Submission to the Royal Commission on Auckland Governance from Brian Easton. (All submissions are available at www.royalcommission.govt.nz.)
18. See www.royalcommission.govt.nz, “Submissions Received”.
19. Submission to the Royal Commission on Auckland Governance from ARPASS, p. 1.
20. Submission to the Royal Commission on Auckland Governance from Arts Advocates Auckland, pp. 2–4.
21. Submission to the Royal Commission on Auckland Governance from Tourism Auckland.
22. Submission to the Royal Commission on Auckland Governance from Committee for Auckland.
23. Rudman, Brian, “Local politicians’ ‘vision’ blurs fair funding spread”, New Zealand Herald, 25 February 2008.
24. Submission to the Royal Commission on Auckland Governance from Champions for Auckland, p. 14.
25. Submission to the Royal Commission on Auckland Governance from Archaeological Association, pp. 1, 4.
26. Growing Auckland, Growing New Zealand, pp. 18 and 19.
28. Clark, Towards Open Cities, pp. 15–17.
29. Ibid., p. 49.
30. City of Toronto, “What Makes a City Great? Toronto 2010: Mayor David Miller’s Vision of a Great City” (available at www.toronto.ca, accessed February 2009).
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