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The number of cultural centres in South China shows an increasing trend. However, there is still a lack of research of this public building type and its related design strategy. This paper aims to identify general characteristics and presents design principles of cultural centres and thus enriches the theory of compact design strategies.

In total, 66 cases of cultural centres in South China have been investigated. The design patterns of these cultural centres projects are analysed by Statistical Product and Service Solutions (SPSS). The theory of compact design strategies is thus used to emphasize the systemic characteristics of cultural centres.

Cultural centres mostly have an overall floor area between 20,000-40,000 square metres (m²). Much cultural centres consist of three to four functional components. Different functional blocks are intensively organized in parallel or in series along a horizontal or vertical direction. The combination of multiple functions is divided into four usual composition types. The most common type is the “synthetical integration”. There are a total of four different distribution modes of integrated layout. Each of these modes can express different narrative themes according its needs, and four kinds of narrative themes are summarized.

Appropriate compact design strategies may be applied to improve the quality of public buildings in a region with the problem of land use limitation. Applications of results of this paper may enhance design efficiency or lead to more appropriate works.

Compact design strategies can be a guide for appropriate architectural design. The findings of this research provide regular design patterns for designers and engineers to streamline their design process.

Country and cultural heritage are inextricably linked for First Nations peoples. This chapter explores those relationships in the context of repatriating cultural heritage materials back to Country and conceptualising a place for its ‘awakening’ for the Ngadjuri community of Mid-North South Australia. These materials in the context of this book ‘interpreted’ as a form of data curation, requiring potentially unique information systems designs to achieve accessibility, recoverability, and durability in remote communities with limited internet and mobile phone coverage. On the other hand, it is critically important to note, that the processes, challenges and repatriation of culturally sensitive materials and remains, are dependant here on the limitations of language. The reference to the notion of ‘data’ as a descriptor, and an inadequate term on some level, does not, and is not intended to, diminish any of their cultural significance and gravity. These are challenges that are worth the intellectual and technological investment to realise a return to Country for generationally displaced peoples and their cultural property that also needs to make it home.

This chapter came about, after five years of working with the Ngadjuri community on speculative student cultural centre designs. Ideation for those conversations and studio-based interactions, in addition to time and cultural tours spent on Country, revealed a variety of opinions and hopes that exist within the Ngadjuri community for a place to celebrate their cultural heritage. This heritage has an incredible history, and the idea of a cultural centre has been topical since the late Uncle Vince Copley Senior worked with other Ngadjuri community members such as Robert Rigney, on Country and in an advocacy role for Ngadjuri more than 30 years ago. This series of yarnings from a two-part transcription process re-awakens those desires of Elders now passed. The transcriptions are complemented with literature around yarning as a research methodology that delivers current, immediate, and insightful personal thoughts, although only as personal as the lead yarner wishes to share. In addition, the literature contextualises the key themes of which the yarnings divulge. Research has indicated how yarning interactions and interrelationships create a unique dynamic between the researcher and the community members. It is these rich experiences where knowledge is shared in a two-way exchange that is noteworthy for the galleries, libraries, archives, and museums [GLAM] sector. GLAM sector priorities must implement policy to pursue future Indigenisation of their epistemological methods and ontological systems. To address any future data curation of Ngadjuri cultural heritage materials on Country or in GLAM, hearing the personal stories and desires seemed timely and necessary.

The aim of this research is to understand the relationship between cultural buildings, economic powers and social justice and equality in architecture and how this relationship has evolved over the last hundred years. This research seeks to identify architectural and urban elements that enhance social justice and equality to inform architectural and urban designs and public policies.

The author explores the relationship between case studies of museums, cultural centers and libraries, and economic powers between 1920 and 2020 in Stockholm, Sweden. The author conducts a historical analysis and combines it with statistical and geographically referenced information in a Geographic Information System, archival data and in situ observations of selected buildings in the city. The author leverages the median income of household data from Statistics Sweden, with the geographical location of main public buildings and the headquarters of main companies operating in Sweden.

This analysis presents a gradual commercialization of cultural buildings in terms of location, inner layout and management, and the parallel filtering and transforming of the role of users. The author assesses how these cultural buildings gradually conformed to a system in the city and engaged with the market from a more local and national level to global networks. Findings show a cluster of large public buildings in the center of Stockholm, the largest global companies' headquarters and high-income median households. Results show that large shares of the low-income population now live far away from these buildings and the increasing commercialization of cultural space and inequalities.

This research provides a novel image of urban inequalities in Stockholm focusing on cultural buildings and their relationship with economic powers over the last hundred years. Cultural buildings could be a tool to support equality and stronger democracy beyond their primary use. Public cultural buildings offer a compromise between generating revenue for the private sector while catering to the needs and interests of large numbers of people. Therefore, policymakers should consider emphasizing the construction of more engaging public cultural buildings in more distributed locations.

This chapter explores the Aboriginal artefacts ‘clapsticks’ as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the ‘awakening’ of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated.

This research paper sets up a typology of libraries managed by cultural centers abroad. Nearly 2,200 libraries linked to a tens of different cultural organizations not only provide traditional services such as loan and access to printed and audiovisual materials but also approach local citizens, offering help and services in matters of education, literacy, cooperation, social issues or development. These actions may fit under the label of cultural diplomacy actions. This paper aims to analyze the relevance of those cultural centers and offer a classification through a table including networks of institutions of the 30 most significant cultural centers worldwide.

This study includes the analysis of all foreign cultural centers in the world, as well as the situation, description and analysis of libraries belonging to the centers. Enumeration of the 30 largest libraries in the world is also included.

The findings help to view and share with the community the importance and necessity of libraries belonging to cultural centers abroad. Library networks are analyzed, and more than 2,000 institutions that help local communities are discovered.

There is some difficulty to list and describe the dozens of library centers. There is no association that brings together this type of institutions.

The most important implication, written in the Conclusion section, is need for the International Federation of Library Associations and Institutions to help such libraries with a specific section.

Libraries abroad are institutions able to help the local citizens and enable basic and essential services for the growth of society, as you can read in the article, some essential services are limited in some countries. Libraries abroad could work many times as public centers.

It is the first time that all library networks abroad are analyzed, and, thus, the value and originality of the article is maximum. The author has focused on the 30 most important libraries that more value give to the society and help citizens.

This chapter looks at the changing politics of urban redevelopment in a politically divided democratic regime following the end of state socialism in 1989. It contrasts the emergence of two cultural institutions of national importance, the Palace of Arts and the National Theatre, as part of a megaproject in Budapest. They emerged almost at the same time as part of the Millennium City Center, a large-scale urban redevelopment project, but have come to stand for two radically opposed worlds dividing the nation and pitting against each other – the cosmopolitans and the nationalists. The research design is that of incorporated comparison; the two case studies are embedded in the analysis of the larger redevelopment project. The study mixes primary and secondary sources; draws on interviews, extensive discussions with architects and planners, as well as an analysis of planning documents, expert reports, and media coverage. It describes the dynamics of private–public partnerships in urban politics pointing to the changing role of the post-socialist state and the new power relations among the various groups involved in urban development in a newly democratizing regime. On the one hand, the analysis shows how local and national-scale political fights make sense from a larger political–economic perspective of waterfront regeneration; on the other, it argues that party politics in politically divided regimes have serious implications on the processes of large-scale urban development, ultimately making them even more under-determined than suggested by the literature. The chapter breaks the assumed unity of the state in studies of urban megaprojects and demonstrates the usefulness of both a scalar analysis and that of the changing political content of the state, which ultimately account for much of the variation in this global genre.

The increased use of, and reliance upon, technology and digitalisation, especially in the galleries, libraries, archives and museums [GLAM] sector, has motivated innovative approaches to the curation of cultural material. These changes are especially evident when collaborating with Indigenous partners. Indigenous Data Governance [IDG] and Indigenous Data Sovereignty [IDS], with an emphasis on self-determination of Indigenous peoples, have called for an emerging focus on ethical and culturally sensitive approaches to data collection and management across a range of disciplines and sectors.

This chapter reports on broader discussions, specifically with mid-North South Australia, Indigenous community members around the appropriate and ethical collection, representation and curation of cultural material on Country applying digital formats. It investigates ways to create a ‘future identity’ through built form as well as providing a ‘safe’ place for preservation of their oral histories.

It highlights the many questions raised around the ethically and culturally sensitive aspects of the collection, curation and archiving of Indigenous cultural material. It documents the preliminary outcomes of these conversations in the context of current research on IDS best practices in the field. The non-Aboriginal authors acknowledge our supporting position in the realisation of effective IDS and self-determination of our Aboriginal partners.

In recent decades, Iranian vernacular architecture has defined the local architectural identity by demonstrating distinctive characteristics. Defining such a critical role for vernacular studies has led to different approaches in the design of the contemporary architecture of Iran. The first approach of integrating vernacular and contemporary designs has focused on local people, their needs, local construction, and building materials. The revival of vernacular architectural design and building elements has been at the forefront of this approach in Iran. However, recent use in Iran has concentrated on the symbolic/abstract reuse of vernacular building forms. Vernacular architecture is known to merely provide for the functional requirements of buildings, and not for aesthetic purposes. Conversely, in the second approach, vernacular building elements are considered to be symbols of local identity. This paper will argue that although the symbolic reuse of vernacular features may not uphold the functional expectations of the vernacular form, this reuse is useful in reviving architectural identity. In addition, underscoring such a different role for vernacular building features in contemporary architecture might help to expand the realm of vernacular studies. Thus, the purpose of this paper is to provide an overview of the conversion of vernacular architecture in Iran by focusing on the instance of wind-catchers. Wind-catchers typically were used in residential buildings and are considered potent symbols of climate adaptation. In contemporary architecture, however, a form of wind-catcher has been used as a symbol for local architectural identity. Through this transformation, the essential nature of the wind-catcher has found new life in the contemporary architecture of Iran.